Born in 1992 in Paris, Rodolphe Bouquillard is an architect, registered to the Order of Architects in Portugal. He exhibits his creations, paintings, sculptures, drawings since 2010.
He lives and works in Sesimbra, Portugal.



Selection of individual exhibitions:


2021 : Matérialisation de couleurs informelles, Galerie de Thorigny, Paris

2019 : R.A.P, Galerie de Thorigny, Paris

2016 : Empreintes métalliques, Galerie de Thorigny, Paris  

2013 : Empreintes, Galerie de Thorigny, Paris

2010 : Beginnings, Galerie Raphaël Imbert, Paris


Selection of collective exhibitions:


2017 : Personal Structures Open Borders at European Cultural Centre, Palazzo Mora, Venise, Italie, dans le cadre de la Biennale d'art de Venise 2017

2016 : Art Fair Tokyo, stand de la Galerie de Thorigny à Tokyo, Japon



Master in Architecture at UAL (Universiade Autonoma de Lisboa) with Professor Francisco Aires Mateus.

Degree in architecture at ENSA (École nationale supérieure d’architecture) Paris Malaquais



« Matérialisation de couleurs informelles » :


The title of the exhibition is absurd by the notions it wishes to associate or dissociate. The color is immaterial, (what is the texture of a color?), however the author claims to materialize it. There is no color without shape and yet the title speaks of informal colors.

It is indeed a “magic formula” of painting that the author seeks here, and that would allow him to do what he wants, to achieve the impossible in painting, and for this he must find a method, his method. Painting is a mental field, but a mental field that takes tangible form under our eyes, under the gaze of the spectator, who is a witness of the result. In this he can judge the success or error in which, according to him, the painter finds himself.

Did the paintings resulting from this challenge, which the artist himself inflicted on himself, succeed in materializing color with an absence of form? It is up to the spectator to decide, but that is not the most important. The important thing is more to ask questions through the artwork, than to find answers. Besides the painting is not an answer, it is the unexpected result of a method that always combines order and chaos. There is a part of control, sufficient to establish an identifiable style, the style of the author, but there is also the unexpected, which is the most interesting, it is the moment when the painting speaks, and decides alone. The artist delegates to the painting which can decide the result on its own discretion, the painter doing nothing but directing the work. The last word still belongs to the author because he finally decides if his work is finished and if he wants to present it. It is the moment when the artwork leaves the workshop and becomes an autonomous object. But the painting never leaves the thought of its creator, where it always stays in his mind.

It may reappear years later in the workshop in another form, undergoing transformations. And sometimes it can even reappear threw other painters, influencing some decisions. Thus, the painting endures and survives the painter.