1. Pierre-Alexandre REMY
    Cours à travers, 2016
    Painted iron and glazed sandstone
    Garden of the Nantes' City Hall
  2. Pierre-Alexandre REMY
    Pangée, 2018
    Painted iron and glazed sandstone
    800 x 440 x 245 cm
  3. Pierre-Alexandre REMY
    Parcours, 2018
    Painted iron
    30 x 17 x 13 cm
  4. Pierre-Alexandre REMY
    Parcours, 2018
    27 x 21 x 15 cm
  5. Pierre-Alexandre REMY
    Echo au chaos, 2016
    Enamel stoneware, filigree glass
    65 x 28 x 32 cm / 25.59 x 11.02 x 12.59 in

    Philippe Piron
  6. Pierre-Alexandre REMY
    Echo au chaos, 2016
    Enamel stoneware, filigree glass
    50 x 44 x 33 cm / 19.68 x 17.32 x 12.99 in

    Philippe Piron
  7. Pierre-Alexandre REMY
    Echo au chaos, 2016
    Enamel stoneware, glass
    70 x 55 x 45 cm / 27.56 x 21.65 x 17.72 in

    Philippe Piron
  8. Pierre-Alexandre REMY
    Chambon sur Voueize, dessin cartographique, 2014
    Print on Arches paper
    35 x 40 cm
  9. Pierre-Alexandre REMY
    Echos au chaos, 2014
    Acier peint et grès émaillé
    900 x 750 x 250 cm
  10. Pierre-Alexandre REMY
    Plan des plantes en pli, 2014
    Acier inoxydable et aluminium thermolaqué
    700 x 300 x 230 cm
  11. Pierre-Alexandre REMY
    Hortillonnages en pli, 2013
    Acier peint
    850 x 380 x 175 cm
  12. Pierre-Alexandre REMY
    Sans-titre, 2011
    Acier ciré, élastomère
    750 x 420 x 170 cm
  13. Pierre-Alexandre REMY
    Cartographie assise, 2011
    articulations de siège automobile, acier, tissus, caoutchouc
    450 x 330 x 130 cm
  14. Pierre-Alexandre REMY
    Un verso d'une page, 2011
    Acier peint, médium, pvc souple
    950 x 420 x 230 cm
  15. Pierre-Alexandre REMY
    Scissure signal, 2010
    Acier peint, élastomère
    700 x 400 x 170 cm
  16. Pierre-Alexandre REMY
    Cormor, 2010
    Chaînes des corps morts de l'île
    800 x 1000 x 900 cm


Pierre-Alexandre Rémy's work explores the relationship between artistic intervention and the space in which it takes place. His recent work is based on the cartographic representation of the specific territory where his sculptures are to be presented. Collecting, classifying and redistributing and integrating the data which define its identity, his sculptures question space, form and body. His steel or solution-dyed polymer ribbons seem to defy the laws of gravity; as their vibrantly colored arabesques unfurl, a new cartographic representation comes to light. The specificities of topography yield a drawing; a way of appropriating space through writing. Pierre-Alexandre Rémy's work generates hypertext for the territory, sketching a portrait made of complex folds that blends scientific and telluric approaches. 

Pierre-Alexandre Rémy was born in 1978.
He lives and works at the Chapelle-Basse-Mer (FR).

Some of his works are today deposited or even permanently installed in several cities in France (Nantes, St-Florent-le-Vieil, Domaine de Kerguéhennec, etc…) and abroad (Ulsan, South Korea). They have also been exhibited by many arts centres and foundations (Chapelle des Calvairiennes, Fondation Salomon, Château de Saint-Ouen, etc.) as well as during festivals (notably the Hortillonnages d'Amiens in 2013 and the Voyage à Nantes in 2016). In 2014, his monumental sculpture "Echo au Chaos" was installed on the lawns of the Jardins de Plantes in Paris as part of the FIAC's Hors les murs programme. Recently, in 2019, the Musée de l'Abbaye Sainte-Croix (Sables d'Olonne, France) dedicated a major solo exhibition to his work.

Pierre-Alexandre Rémy is also a member of the collective Les Fondeurs de roue, whose rehabilitation of an old riding school into a touring and practicable exhibition space is still going on.


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