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Born in Tourcoing (France) in 1947.
Lives and works in Lille

Over the last fifty years, Dominic Grisor has developed a singular body of work that has never ceased to renew itself, with a constant concern for rigour and balance. While the metal cuts and reliefs express the quintessence of his work, characterised by formal associations that are as meaningful as they are improbable, it is worth noting that a common logic underpins all these works, which is none other than a concern for accuracy. Moving from a disturbing hyper-realism to total abstraction over the course of his series, Grisor offers us an eclectic, fair and generous body of work.

Equateur - (Chapeau l_artiste_B modif-1) à tirer par la galerie 10ex + 2EA.tif

What is above is like what is below

How and why would you want to balance a painted stone on the edge of a metal blade? It seems to me that this display represents the very essence of Dominic Grisor's work. Everything in his work is a search for balance. Here in an arrangement as unstable as it is improbable; elsewhere between line and surface, relief and plane or figuration and abstraction.

How to hold things together? Haven't I often heard the artist say, when considering one or other of his works: "It holds! It's a fairly common expression among visual artists, but one that takes on a very special meaning for him. Because that's what it's all about: holding things together. Shapes and colours in space first of all, in a sort of clever and magnificent interplay. Or signs and things in the search for subtle symbolic correspondences.

And why do we want to "hold things together"? Because it seems to me that in Dominic Grisor's work there is a stubborn search for relationships and combinations that might reveal something of the world's profound structure. In this way, for him, 'to make fit' would mean tuning into a mysterious order of the universe from which he would get the secret of exercising from a vision. Finally, wanting to "hold things together" because, beyond his images alone, it would also mean maintaining a certain order of things, preventing the world from falling apart.

​Dominique Tourte

Re-combining everyday life

It is fairly commonplace to consider that, since individualism has become the central value of modern consciousness, art can only be a singular practice - in a privileged relationship with the singularity of its author alone. There is therefore a constant risk that it will develop without any communication with the social body or, more modestly, with others. For the artist, there is a risk of absolute solipsism or strictly tautological satisfaction, which can only be confirmed in the course of the spread of modernity and the extinction of the collective discourses that accompany it: I make art that is art about art. The affirmation of the autonomy of art has as its flip side the solitude of the artist; the more absolute value he gives to his practice, the more he risks having to repeat with Flaubert: "I would throw myself into the water to save a beautiful verse or a beautiful sentence, from anyone. But I cannot believe that humanity needs me any more than I need it.


The question that an artist, whether modern or 'postmodern' - and even if they don't ask themselves this question in all lucidity, the important thing is that their work in some sense answers the question for them - has to resolve is how to find common ground on which to build a communication with others, to escape from solipsism and tautology, at a time when the great ideals of the past (religion, service to the State) and unquestionable shared values have all collapsed.


The solution developed by Grisor in the decade in question, which would later give rise to significant variants along the way, was to use (to build on) images that were accessible to everyone, that everyone could recognise (if not name) at least in part. Not in order to reproduce them by simplifying them (as American pop art did - but Grisor began to intervene at a time when pop had already passed, in the process of becoming part of the history of modern art, which he was perhaps bringing to a close), but in order to retain only fragments of them, which he rearranged in his own way.


As a result, his proposals are both seductive (everyone can find in them elements that are 'known' or already experienced) and disconcerting (these same elements do seem to produce meaning - like sentences, if we accept that the repetition of objects and pieces of 'nature' constitutes a kind of vocabulary - which remains perfectly enigmatic). In other words, it is also because of the metonymic significance of each element that its coexistence with the others is implicitly problematic: if a cactus refers to the possibility of a desert while a Venetian blind refers to the city, how can we resolve the contradiction suggested by their juxtaposition on a canvas? It is in the articulations between these elements, in the addition of their partial meanings and in the 'montage' that makes them coexist, much more than in their description - even though it is as detailed as possible - that the singular consciousness of the individual Grisor asserts itself. It is here that the way in which he distinguishes himself from the other consciousnesses of the moment is marked, but this singularity is all the more accepted (it is all the less likely to be sent back to solipsism) because it circulates, as it were, in secret, behind the objects of the world that the viewer may have known.

Gérard Durozoi


Né à Tourcoing en 1947.

Vit et travaille à Lille.



Galerie Cédric Bacqueville, Lille, France


Galerie Cédric Bacqueville, Lille, France


Galerie Cédric Bacqueville, Lille, France


Galerie Cédric Bacqueville, Lille, France



Galerie Bacqueville, Lille, France


4 à 4, Musée Paul Valéry, Sète, France


Lille Art Fair, Galerie A. Delerive, France


Galerie A. Delerive, Lille, France


Galerie Régis Dorval, Lille, France


École Régionale Supérieure d'Expression Plastique, Tourcoing, France


Dodeigne-Grisor, Foire Européenne Strasbourg, France

Galerie Régis Dorval, Lille, France


Piet Blanckaert Gallery, Bruges, Belgium

J&M Davidson Gallery, London, United Kingdom

Telindus-Ostende, Belgium


Médiathèque Marguerite Yourcenar, Faches-Thumesnil, France

Galerie A. Delerive, Lille, France


Galerie de l'Atelier 2, Villeneuve-d'Ascq, France


Opsis Art Gallery, Ostduinkerke, Belgium

Médiathèque de Trith-Saint-Léger, France


Espace Techno, Paris, France


S.A.G.A Grand Palais, éditions Images du temps, Paris, France

École Supérieure d'Arts Plastiques, Valenciennes, France


Espace Techno, Paris, France

Espace Le Carré, Lille, France

Galerie Étienne de Causans, Paris, France


Galerie Jacqueline Moussion, Paris, France


Galerie Jacqueline Moussion, Paris, France


Musée de la Chartreuse, Douai, France


Musée d'Art Moderne, Villeneuve-d'Ascq, France


FIAC Grand Palais, Galerie Etienne de Causans, Paris, France

Abbaye de Saint-Riquier, France


Formes Internationales, Lille, France


Galerie Étienne de Causans, Paris, France


Galerie Lithos, Mouscron, Belgium

Galerie Jacqueline Store, Lille, France



Topographie de la lumière, Paris, France


YIA, Carreau du temple, Paris, France


Art Paris, Galerie Bacqueville, Grand Palais, Paris, France


Art Paris, Galerie Bacqueville, Grand Palais, Paris, France


Paradis perdu, Frac Grand Large-Hauts-de-France, Dunkerque, France

Off-Course Brussel Art Fair, Galerie Bacqueville, France


Galerie Danse Lefévére, Imprimerie Campoi, Tournai, Belgium


Valeurs sûres, Galerie Régis Dorval, Lille, France

Bernard Guerbadot et compagnie..., Galerie Une poussière dans l'oeil, Villeneuve-d'Ascq, France


Atelier de la Monnaie, Musée des Beaux-Arts, Lille, France

Atelier Jean Ferlicot, École Régionale Supérieure d'Arts Plastiques, Tourcoing, France


Rome, Les Artistes de la fondation Wicar, Musée de l'Hospice Comtesse, Lille, France


Faculté de médecine CHR, Lille, France


7 + 15, Galerie Empreinte, Arras, France


Profils d'une collection, LaM Musée d'Art Moderne, Villeneuve-d'Ascq, France

Médias audiovisuels, Galerie des Ponchettes, Nice, France


Carte blanche, Centre Georges Pompidou, Paris, France


FRAC Grand Large, Dunkerque, France


Zone N, Centre culturel Saint-Gratien

Des images d'aujourd'hui, Niort, France


De Matisse à nos jours, Musées des Beaux-Arts, Lille, France


Nouvelle figuration 3, Mulhouse, France


Salon international d'art, France

Musée des Beaux-Arts, Toulon, France


Les uns par les autres, Musée des Beaux-Arts, Lille, France


Prix Europe de peinture Kursaal, Ostende, Belgium

Tours multiple 78, Musée des Beaux-Arts, Tours, France

Les métaréalistes, Galerie Bellint, Paris, France

Réel, Réalisme, Réalité, Abbaye de Beaulieu-en-Rouergue, France

Galerie Étienne de Causans, Paris, France


Joli mois de mai, Galerie Jacqueline Storme, Lille, France



Grands et jeunes d'aujourd'hui, Grand Palais, Paris, France

Banque Mondiale Washington
FRAC Grand Large - Hauts-de-France
LaM - Lille Métropole Musée d'art moderne, d'art contemporain et d'art brut, Villeneuve-d'Ascq
Banque Edmond de Rothschild, Paris
Banque Populaire du Nord
Trois Suisses International
Ambassade du Brésil, Paris
Ville de Lille
Les Amis du Centre Georges-Pompidou, Paris
Conseil Général du Nord
Musée d'Art moderne et d'Art contemporain, Nice
Musée de l'Estampe, Gravelines
Bibliothèque nationale de France, Paris
Nombreuses collections particulières en France, en Europe, aux États-Unis

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