Hervé creff, born in 1956, waited until his thirties to
devote his time to painting, at a time when the death
of painting was celebrated. But how may one prevent
himself from trying to face this challenge anyway?
Give the canvas, this rectangle doomed to be nothing
more than a flat rectangle on a wall, a chance to
crystallize a projection of our inner world, a gesture
that belongs to us but that is beyond our control? This
very limit is the greatest stimulation and leads to
always solve the same equation: invent a balance, an
harmony, while the painter is trying to break free
from tradition. By seizing the surface, it is the
evidence that he seeks. His gesture must bring out
from the void an indisputable presence, a clear sign,
even if its meaning resists, a force that exceeds and
the intention of the painter and the corset of the
image. As Sol LeWitt said: “For each work of art that
becomes physical there are many variations that do


  • 2019 House of Vodaine-Baslieux KIT, Baslieux, France
  • 2014 Jacque Brel art center, Thionville, France
  • 2006 Bookstore of Hisler-Even, Metz, France
  • 2006 City hall of Peynier, Peynier, France
  • 2006 Talent à suvre Gallery, Lyon, France
  • 2006 Festival of Boulibatsch, Thionville, France
  • 2005 Vitro, Thionville
  • 2001 Carrefour des arts, Metz, France
  • 1987 Lagrange Gallery, Barbizon, France