Éric Sandillon, born in 1969, is a French visual artist, filmmaker, and applied arts teacher.

Biography

He was born in 1969^[1][2] and currently resides in Paris. Sandillon holds a degree in applied arts.^[3] In 1998, he exhibited his works at the Gallerie van Gelder in Amsterdam.^[4][5] In 2002, he showcased a collection of photographs at the Galerie Martine et Thibault de la Châtre in the 3rd arrondissement of Paris.^[6][7] This collection was titled "Marianne dévoilée".^[7] Sandillon exhibited in Halle, Germany, in 2004.^[4][8] In 2005, he published "Projet louche"^[9] with Gallimard, a synthesis of his work.^[10][11] During the same year, he exhibited alongside Agnès Varda and Michelangelo Pistoletto,^[12] presenting his work "L'allergie," with the central piece being an animated film he directed.^[13]

In 2011, one of his tapestries was displayed in the Dauphin's Chamber at the Palace of Versailles.^[14][15] He teaches Digital and 3D at the École nationale supérieure des arts appliqués et des métiers d'art (ENSAAMA).^[16] In 2016, he participated in the study day "Critique du réseau" at the National Institute of Art History (INHA).^[17]

In 2017, his tapestry "Sans limite de stock" was exhibited at the Beauvais Manufactory^[18][19][20] during the European Heritage Days.^[21] The Fonds régional d'art contemporain (FRAC)^[4] and the Mobilier National both possess a portion of his works.^[1][22]

In 2018, he was exhibited alongside, among others, Henri Matisse, Joan Miró, Le Corbusier, and Raymond Hains at the Museum of Decorative Arts and Design in Riga, Latvia.^{[23][24][25][26]} This exhibition, titled "Colour of Gobelins: Contemporary Gobelins from the 'Mobilier national' collection in France," took place during the sixth edition of the Riga Textile Art.^{[23][24][25][26]}

Analysis of the work

Eric Sandillon's body of work is characterized by a focus on clothing and the utilization of garments as a platform for disseminating information.^[2] One of his pieces, "Sans limite de stock," is emblematic of the integration of computer technology into art during the 2000s^[1] and delves into emerging technologies such as cloning.^[18] In this context, Louis Surreaux stated:^[1]

"In Eric Sandillon's work, 'Sans limite de stock,' the image with vibrant colors alludes to genetic manipulation, the creation of a new life form by human hands. [...] The flat, colorful drawings are translated into pixelated forms, as if originating from the realm of computers. [...] The use of vivid colors situates this tapestry within the realm of advertising panels, an ultimate means of communication."

Works

References