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Francoise Houze

26110 CONDORCET - France

00 33 475 27 75 10
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I live and share my work between France, Belgium and Egypt (2007).
Born in Marcilly-sur Eure (France) of French mother and Belgian father, I hold the French nationality.
France and Belgium are the gardens of my childhood.

High School Diploma in Arts, . Charleroi, Belgium
Evening Courses at the Academy of Charleroi.
Diploma of Higher Art Education, Brussels (Graduated in Plastic Art, type: long, Painting: Elective).
Free subject Competitive Examination; I selected my passion of the moment: Ingres
During my studies I discover American painting, which would definitely shock and influence my work. Suddenly, my painting turns towards the abstract. The nudes become geometrically transformed into black and white (influence of Kline) and, being dominantly graphic, color is therefore non-existent.
I spent time regularly at the Aiguebelle monastery (Drone), to find and isolate myself, rediscover creation and, to open out my reflection. I worked on the bed or a small table with dry pastels: geometric abstracts and movements; that is the start to approaching colors.
Explosion and movement by a continuous stream of graphics; artistic jubilation and <<mystic>>period… confer: movement.
Progressively, defiance stands out (to overcome my fear) against color (painting) and with gradual abandonment of graphics. A great struggle leads me to a great freedom: for the support only of color and the rejection of framed canvas. All supports are good and are like many adventures and stimulating discoveries (all types of paper, textiles prepared by myself in order to better feel them: wood, silk, cement, plexi, plastic). Manufacturing paints: binders and pigments (refusal of paints which come out of a tube) are often dull.
I explore colors, one by one, or almost so; utilization of poor materials, so to speak, which are magnified by the golden and the copper.
The object of painting is in the painting for itself, it is an actuality in itself, with no subject other than itself without an external message (political, existential, poetic…). The pictures are only related to themselves.
The square, with its versatility, is a proper commonplace of multiple experiences within the canvas. The square also poses the problem of the frame or the canvas that I never use. The square is therefore, in an ambiguous manner, the frame, the spatial area of the painting that is made of itself and for itself – confer: squares.
For me, art is a field of experiences, discoveries (occasionally playful, sometimes poetic) or charged with an unconsciousness referring to voyages without contradicting <<within the painting itself>>, the choice and study of certain colors (physical nomadism) confer: time 4.
In fact, being a nomadic artist, a carrier of my complex sensuality, wherever I am (the places) everything is good regarding what presents materially (e.g. fire ashes, earth, plants….). Painting for the sake of painting… Often large formats on the floor… always on the floor, as painting is liquid and demands colored superimpositions. Confer: text of MARIE FRANCOISE CALLOT.
With this spirit I give a lot of importance to the exhibition venues that are as much fields of investigation, as for the installation of my work, carefully invested in space. On the other hand, I express my independence towards galleries and prefer the adventures of those sometimes-atypical places.
Edition of four series of lithographies by Eric Linard (2005).
Professional Experience
 Teacher of Plastic Arts
 Management of artistic studios in different cultural places
 Organization of exhibitions, of retrospectives, selection of artists, of competitions….
 Selection of casts for the “school theatre” (Belgium).
 Teaching of adults at the Malou Art Studio (Brussels).

Second marriage in 2004.

President of CAMERA OBSCURA, photographers association Felten-Massinger.

Exhibitions in France, Belgium, Egypt.

Private collections in Canada, Switzerland, Germany, US, Belgium, France, Egypt…

Affiliated to the House of Artists in Paris.
Discovering the secret garden of the artist through his/her work is neither an easy task nor an aim of really great demand.
The strong personality of Françoise HOUZE is felt through the picturesque symphony of which the shapes, the colors and the lights are the composers of an enchanting music.
Abundant work of very large format (2.40m x 1.60m), free canvases, without frames, hung on white walls… of the matter of sign; these works speak to the touch as much as to the eyesight…..
Françoise HOUZE attaches an essential importance to the <<support>>: the canvas on which she will apply her colors is first of all worked, kneaded, coated, cut up and re-pieced. We find superimpositions of diverse canvases, stuck, hung…. The colors are equally worked; all the techniques are used except for ready-made paints, with a predilection for the “gesso” used not only as coating, but as color: a matt white in a charmed relief. The artist is attentive to the light, the material substance, the pure paint that she will transform and to the result of the mixture of dyes.
The method of preparation retains a particular character, almost a ritual: it is in the first place, a face to face confrontation, an osmosis with the support that will be used, the artist caresses the canvas, touches it, impregnates it as if to better know it, better tame it, she petrifies it. The encounter is totally physical, sensual between the painter and the material on which she will a y her work.
Next comes the application of paint: a very personal technique, never an easel. F. HOUZE installs on the ground her big formats then spreads her colors, standing, on her knees, sitting… the work, gestural at the start, then becomes more intimate, the chaos is dominated by the knowledge of the technique and the painter enters into a state of creative pleasure that is the same as her compositions.
The colors are precious and are evidence of the generously intuitive character of her choice in the matter of lines; they are spread in the form of bands, by well-defined sectors. The canvas is built by the thread of visual progression, space is diffracted, the background is in perpetual movement; it doesn’t stop rebounding forwards by a game of spots, of strong points….. The variation of blues, sometimes bordered by gold is a characteristic of the paintings of F. HOUZE. She underlines her colors, puts them into evidence in geometric forms with blurred contours (squares and rectangles, essentially), an uncoordinated but well balanced geometry, which puts into evidence the artist’s worth and puts into value the fineness of the colored mixture; its transparency.
The contrast between the smooth matter and the thicker substances; grainy, inserted into definite spaces in an imprecise, but apparent manner, give the work an aspect of <<being unfinished>> on which the artist seems able to ever intervene, retouch, remodel, add…
In another type of work, which she presents like large-format books, that we’d like to browse and that we could pose on a lectern, the sheets are placed one on top of the other, enveloped in a fragment of cloth. The optical conception of the work is underlined by a personally traced handwriting, etched, the canvas seems ironed in lime, whitewashed then rewritten, but half deleted, almost illegible… we discover a few fragments of words, neo-palimpsests, the colors here are darker, bistres edged with gold color, parchments over which time has left its mark, has erased the words (secrets? symbols? unspoken? questioning the time that passes? perreniality? non-perreniality?) Talent, technique, passion… MARIE-FRANCOISE CALLOT


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