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Frédéric Prat

Exhibitions
Deep Deep Down
Deep Deep Down
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Vue AR Tand ME MUDAM Remi Villaggi
Art & Me
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Mudam Collection VUE Abstraction 2012 3
Les Détours de l'abstraction
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Vue de l’exposition Frédéric Prat au Musée d’Art Moderne Grand-Duc Jean (Mudam Luxembourg), 2008 © Photo : Andres Lejona | Mudam Luxembourg
Monographic exhibition
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Artworks
Frédéric Prat, "Bleu", 2007. Acrylique sur toile. 220,5 x 198,5 cm. Collection Mudam Luxembourg. Acquisition 2007 © Photo : Rémi Villaggi | Mudam Luxembourg
Bleu
Frédéric Prat
2007

Acrylique sur toile
220,5 x 198,5 cm
Collection Mudam Luxembourg
Acquisition 2007
© Photo : Rémi Villaggi | Mudam Luxembourg

Frédéric Prat, "Gris", 2007. Acrylique sur toile. 162,1 x 192,5 cm. Collection Mudam Luxembourg. Acquisition 2007 © Photo : Rémi Villaggi | Mudam Luxembourg
Gris
Frédéric Prat
2007

Acrylique sur toile
162,1 x 192,5 cm
Collection Mudam Luxembourg
Acquisition 2007
© Photo : Rémi Villaggi | Mudam Luxembourg

Frédéric Prat, "Jaune", 2007. Acrylique sur toile. 240 x 198,2 cm. Collection Mudam Luxembourg. Acquisition 2007 © Photo : Rémi Villaggi | Mudam Luxembourg
Jaune
Frédéric Prat
2007

Acrylique sur toile
240 x 198,2 cm
Collection Mudam Luxembourg
Acquisition 2007
© Photo : Rémi Villaggi | Mudam Luxembourg

Frédéric Prat, "Sans titre", 2001. Huile sur toile. 160,5 x 200,2 cm. Collection Mudam Luxembourg. Donation 2006 – José Ensch, Membre de l’Institut Grand-Ducal, section Arts & Lettres © Photo : Nosbaum & Reding – Art Contemporain, Luxembourg
Sans Titre
Frédéric Prat
2001

Huile sur toile
160,5 x 200,2 cm
Collection Mudam Luxembourg
Donation 2006 - José Ensch, Membre de l’Institut Grand-Ducal, section Arts & Lettres
© Photo : Nosbaum & Reding – Art Contemporain, Luxembourg

Frédéric Prat, "Vert", 2007. Acrylique sur toile. 198 x 240,5 cm. Collection Mudam Luxembourg. Acquisition 2007 © Photo : Rémi Villaggi | Mudam Luxembourg
Vert
Frédéric Prat
2007

Acrylique sur toile
198 x 240,5 cm
Collection Mudam Luxembourg
Acquisition 2007
© Photo : Rémi Villaggi | Mudam Luxembourg

In the pictorial research carried out by Frédéric Prat (1966), coloured forms are deployed on the painting surface and are articulated in relation to monochrome backgrounds although their variation does not constitute an issue and they do not lead to a given interpretation. In fact, the spectator cannot discern a commentary nor any symbolism. On the contrary, the painting, freed of any reference or contingencies of composition, expresses its presence as an object. Its format allows it to be apprehended at once, entirely and in detail. The painting defines itself above all as a place, which allows the free gaze of the viewer, and opens a volume of thoughts.