In the exhibition Corps de la ligne, Alain Clément unfolds a multilayered interplay of line, color, and surface, in which the medium of paper becomes not merely a support but an active space of resonance. The works on view do not conceive of the line as a mere contouring device, but as a corporeal phenomenon that expands, condenses, and enters into a dynamic relationship with the surface.
The deliberate focus on works on paper draws attention to a dimension of Clément’s practice in which the immediacy of his artistic thinking becomes particularly evident. Unlike painting, paper allows little room for correction or revision: marks remain visible, decisions are irreversible. In this directness, the act of drawing itself becomes perceptible as a sequence of gestures that manifest on the surface without mediation.
