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ギャラリー KTO・サブスティテュート

ギャラリー KTO・サブスティテュートとは?
渋谷神南のモッズ ファッション ショップ "blues dress" の壁に ART 作品を展示していくプロジェクトです

about GALLERY KTO substitute
project to display ART works on the wall of the mod fashion shop "blues dress" in Jinnan, Shibuya

blues dress
〒150-0041 東京都渋谷区神南 1-13-15 S-Glanz SHIBUYA (元 光立ビル) 1F
Koritsu Bld 1F 1-13-15 Jinnan Shibuya Tokyo Japan

blues dress : 03-3461-7655
GALLERY KTO : 03-6881-9936 /

current exhibition

トマ・ジラン 個展
Thomas Gillant
“Every lining has a silver cloud”

2022年5月21日 (土)〜2022年6月14日 (火)
Sat May 21th 2022 ~ Tue Jun 14th 2022

Thomas Gillant_1.jpg

Crossing color fields
Acrylic and oil on canvas

Thomas Gillant_3.jpg

Neon layout #1
Acrylic and oil on canvas

Thomas Gillant_2.jpg

Cloud machine #1
Acrylic and oil on canvas

Thomas Gillant_4.jpg

Doodle avatar #1
Acrylic and oil on canvas and

トマ・ジラン  2022年4月

〈 略歴〉
Émile Cohl School of Arts, Lyon 卒業 フランス
2021年      『Epic painters』 The Blank Gallery東京
2020年      『Shift operation』 Cave Gallery 東京
2020年      『interactive ‐YOUTH‐』 ギャラリー檜B・C東京
2019年      『The view from here』 The Landing #2 Tokyo, August Moonカフェ内
2017年      『Summer show IX』 Atelier Communiquer フランス
2014年      『Bold shapes tell no tales』 Écarts Collectiveフランス
2013年      『Flat traps』 Écarts Collectiveフランス
Painting series: “Every lining has a silver cloud”
When the weather is indecisive, subtle shades of grey blend with more vivid tones in the sky. A sudden shift in the atmosphere, and a shaft of light breaks through the fading veil of the clouds, slashing them like a giant brush. Settling under those skies, this series of paintings explores the possibilities of working with multiple layers of oil paint, and exploits the tension created between colour gradients and brush marks.

Inspired by the idiom “every cloud has a silver lining”, these abstract paintings are experiments resulting from happy, and sometimes unhappy, accidents, attempting to take advantage of the outcomes. Emulating the process of working with image editing software, layers of acrylic paint form the foundation for subsequent layers of oil paint, altered by scrapers and brushes to reveal the silver linings of each canvas.
This influence of the digital on the analogue creative process is present in the earliest stages: sketches on paper are scanned to make colour variations on a computer, then transferred onto canvas with brushes, rollers and spray guns. And so we see expressive gestural strokes contrasting with aspects that resemble the aesthetics of CGI: the blurriness of lo-res JPEGS, pixelation, and colour gradients.
While the surface remains mostly flat, like a screen, the use of gradients gives dimension to the space. Here a line glows like a neon tube and advances; there a light emerges burning like a flare… Similarly, passages of colour create a sense of depth: iridescent paints illuminate the muddy tones, whereas vivid colours are muted by darkish fogs. Blunt flatness and artificial depth are in constant dialogue. Titles such as ‘Shimmers on an electric pole at night’ and ‘Haze of hot and cold hues’ encapsulate the analogies between natural phenomena and painting experiments.
Thomas Gillant's work is characterised by gestural abstraction, digital aesthetics, and colour vibration. Using oils in a limited palette and a wide range of tools, including spray guns, brushes and rollers, he resists emphasising any specific aspects of the composition, thereby uniting the canvas and keeping the eye in motion. By using shapes that tease our depth perception, and experimenting with colour juxtapositions to create vibrational effects, his work creates a strong and immediate visual impact.
Émile Cohl School of Arts, Lyon (France), BA

Selected Group Exhibitions
Epic painters, The Blank Gallery, Tokyo, 2021
Shift operation, Cave Gallery, Tokyo, 2020
Interactive Youth, Hinoki Gallery, Tokyo, 2020
The view from here, The Landing #2, Tokyo, 2019
“Summer show IX”, Atelier Communiquer, Bouc-Bel-Air (FR), 2017
Bold shapes tell no tales, Écarts Collective, Aix-en-Provence (FR), 2014
Flat traps, Écarts Collective, Aix-en-Provence (FR), 2013

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