What's On

Exhibitions

Published Work

1. Can you talk through the work you are making for ‘Small Dreams’? Why do you use the materials you use?

 

In the pursuit of the miniature, I have had to condense all my expressions within a limited physical space whilst demonstrating how I am exerting all creative muscles and training, which on paper meant I had to focus all my effort into the perspective. By sharpening graphite pencils and using thinner blending stumps, I was able to adapt the scale of the image with precise control of light and shading; the subtleties of the line work providing a much more intimate experience for the viewer.

 

2. How does the concept of ‘miniature’ or working on a small scale resonate with you or your practice?

 

Through the concept of ‘miniature’ I express my own perspective of that of a child; the shared universal experience of remembering when everything in your world seemed enormous. For the child, the universe can be as large or as small as their unbridled imagination perceives it to be. This body of work seeks to utilise this same perspective to create images that carry both grandeur and simplicity beyond their physical scale. Each image evokes not only the concept of the miniature, but of the intimate detail which fascinates the childlike mind and how we as children turned mundane experiences into core memories, unique and singular phenomenon in a moment of time.

click on image for more →

Small Dreams, Camille Gillyboeuf, Stanley Street Gallery, group show
Les Murray, poemes vernaculaires, Thierry Gillyboeuf, Camille Gillyboeuf, charcoal drawing, australian poetry

Excited to finally share the cover of a poetry book I have worked on in collaboration with my father who translated in French the Subhuman Redneck Poems by renowned Australian poet Les Murray. This project took more than 2 years in the making and the hardcopy is finally printed and published by Editions de Corlevour. The other illustrations can be seen in the Drawing  section of this website.

 

Sa poésie, qui fait le grand écart entre la puissance laconique des épigrammes et le souffle au long cours d’épopées en vers, se caractérise par la richesse colorée, sonore et métaphorique de son verbe, dans un mélange habile d’humour, d’allégresse et d’interrogations métaphysiques. Pour Brodsky, Les Murray était celui en qui « la langue anglaise respire ». Géant des lettres australiennes, il s’était opposé au modernisme littéraire de la « Nouvelle poésie » australienne, auquel il reprochait de se couper d’un lectorat plus populaire, pour devenir « le domaine d’une clique intellectuelle ». Lui-même était décrit par un critique comme « un poète traditionnel dont l’œuvre est d’une originalité radicale ». Son style est immédiatement reconnaissable à sa dextérité linguistique et à sa maîtrise de la scansion poétique. Il célèbre une Australie rurale, enracinée, idéalisée, celle d’une « république vernaculaire » dont il décrit la flore, la faune et les paysages avec une inventivité toute baroque. Sa langue contribue à installer une réalité, où l’onirisme le partage aux préoccupations sociales et aux questionnements téléologiques. Riche, généreuse, volubile, somptueusement déroutante, la poésie de Les Murray est à l’image de son pays : un continent.

← click on image for more 

Soupçon group show Stanley Street Gallery Camille Gillyboeuf

"Making an outstanding appearance in the last MFA grad show at the National Art School, the French-born Sydney-based artist Camille Gillybœuf makes her presence resonate at pompom with three works that continue her interrogation into the dichotomy of childhood/adulthood. Working across charcoal drawing, sculpture, and installation, Gillybœuf's practice gravitates towards examining the many contrasting elements that coexist when engaging with transitional objects, particularly the 'doudou' (meaning comfort-object in French). Gillybœuf’s imaginary landscapes and felt assemblages evoke feelings of innocence, security and wonder alongside fear, loss and discomfort. They require contemplation and closeness in a world that screams for distance and solitude. While seducing you with the possibility of tactile experiences, the smooth render of charcoal on paper and raw felt tap into the echoes of the unconscious mind, distilling in the process the notions of becoming and belonging through place and time."

Extract from Confabulations exhibition catalogue essay written by Felipe Olivares, August 2021, Galerie pompom

click on image for more →

Confabulations, Camille Gillyboeuf, emerging artist, group show, galerie pompom, sydney artist
Align, Camille Gillyboeuf, group show, emerging artist, sydney art, sydney artist

"Revealing themselves are the surrealist dreamscapes from French-Australian artist Camille Gillybœuf, which shine through the monochrome palette. The charcoal creates a subtle grain on the surface, absorbing the light and drawing the viewer closer. The pair of textured drawings present a world with natural shapes, negative spaces, and a figure in each work, one monstrous and the other reduced to a minute scale. Magnified by a sense of uncertainty mixed with curiosity, the imaginative depictions form a desire to dive into unfamiliar worlds. Gillybœuf embraces this tension and describes “escapism and comfort as a useful function of the human imagination”. Subjectivities highlight how sightlines are the most tangible visual connection to our physical world."

Extract from ALIGN exhibition catalogue essay written by Samantha Houben, July 2021, Ninety Three Bourke

← click on image for more 

« To think clearly in human terms, you must be
impelled by a poem. »

« Pour penser clairement en termes humains, il
faut d’abord qu’on soit poussé par un poème. »

 

Poèmes de Les Murray
Dessins de Camille Gillybœuf

click on image for more →

Bestiaire des antipodes Les Murray Camille Gillyboeuf Australian poet