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Sébastien Créteur

  • I Believe I can fly,214x174x105mm, acrylique sur verre, Sébastien Créteur
  • Odysee Bleue, 166 x 346 x 100mm, paint on glass, one of a kind
  • I Believe I can fly, oeuvre 3D en technique mixte sérigraphie et peinture acrylique à la main sur verre couleur rose reflex, 214x174x105mm.
  • I Believe I can fly, oeuvre 3D en technique mixte sérigraphie et peinture acrylique à la main sur verre couleur rose reflex, 214x174x105mm.
  • I Believe I can fly, oeuvre 3D en technique mixte sérigraphie et peinture acrylique à la main sur verre couleur orange reflex, 214x174x105mm.
  • XOXO01, 216 x 216 x 130mm. bd
  • Schtroumpf 4, 21x13x13cm, peinture acrylique sur plaques de verre, peint à la main par Sébastien Créteur, pièce unique, galerie Barrou Planquart
  • one kiss, 216 x 216 x 130mm. BD
  • La Jungle d'Henri - paint on glass, 216x346x130mm
  • La Jungle d'Henri - paint on glass, 216x346x130mm

With a degree in plastic arts and after several years of working in architecture, Sebastian Crêteur has returned to what has inspired him since his childhood: time. Passionate about astronomy, archaeology and disciplines with which he articulates his process, he took ownership of his own time and made it into a physical medium and an object.
He paints abstract and geometric forms (in particular spheres to symbolize the cosmos), by impact on plates of glass, for example chronological particles where time becomes the subject. These assembled plates create a structure which reveals pictorial sculptures and sculptural paintings, which was baptized as Monyalos.
The Monyalos idea was born in 1998 with the fortunate meeting of the canvas frame and a glass plaque and was the product of a process of pictorial experimentations. After university, the Monyalos stayed in his cardboard boxes from university until 2005 when Sebastian decided to return to his origins of painting.
In his work, he searches to shift the inventive centre of the sculpture, which is a metaphor for the heritage of the monocentric perspective or of a “mystic” core generated by forms. He places the spectator in orbit under the hypnotic attraction of form and colour. In this way, the observer, looking for the radiant of the sphere and the form contained in the Monyales, sees that the form is eclipsed by the void. Empty and formed, material and space will enter in resonance and oscillate between waves and particles.
The Monyales present themselves alone, in composition (assembly and terracing) or as an installation.
His works situates itself at the centre of a crossroads, but equally at the intersection of three worlds; the object, the spectator and the cosmos.