Guillaume Pellay’s practice is spread into multiple actions and productions with various statutes and scales. All together, these draw the perimeter of a territory composed of cultural and aesthetic references sometimes consired as incompatible. His work depends a lot on its environment in which it develops, and then the links to Brest, where the artist grew up and where he still lives, are numerous.
Guillaume Pellay’s approach of painting, much of which is run on walls as graffiti and tags, is in many ways related to other daily practices as gleaning, collecting and reading.
During his three months residency, the artist kept up with its investigation of the painting and its practical arrangements, convergence and existence in the city and the studio.
Beyond an arid questioning of what motivates the inclusion of the work in the art space supposedly as surface of validation and critical recognition, Guillaume Pellay’s work nourrishes itself of these prorosities to produce a work that flout paralyzing dichotomies. Heir to a now recognized synthesis between high and low culture, all his works proceed from a appropriationism as chosen as hungry with an ease and sophistication that borders on dandyism.
Within Les Chantiers-résidence is a production-in-residency program for emerging artists in Brittany Region run by Passerelle Centre d’art contemporain and Documents d’Artistes Bretagne.
During his three-month residency, Guillaume Pellay was accompanied by various professionals in the development of the project, in terms of achievement and management of its production, information, education, communication, etc. Along his production, Guillaume Pellay was supported by Emilie Kermanach from CAE Chrysalis / Artenréel in Quimper for its administrative procedures.
A dedicated website, developed by Documents D’Artistes Bretagne, reports the residence and all the stages of the project.