Raoul Sinier

Raoul Sinier

Raoul Sinier, an artist living in Paris, paints with a strange brush that creates nonsensical and portentously. Sinier captures these intersections with a comical presentation. Trappings of modern life are found in Sinier’s pieces and are inextricably woven into commonality that his human subjects are either unaware of this intrusion, or, when the encounter is in the form of human mutilation, seem to accept if not embrace this cleaving. However, to Sinier, aesthetics are a matter of intuition and it’s best not to look to deeply into things.

“Mutilation – it’s mainly because I like to work on the human body and since I’m not really interested in realistic painting, I usually add a weird or unusual side to my illustrations.”

Format: Please introduce yourself.
Raoul Sinier: I’m Raoul Sinier. I use the moniker Ra. I’m a digital painter and musician. I’ve been releasing records since 2004 and sometimes do some art exhibitions.

Format: You’re in Paris, correct?
Raoul: Yes. My parents moved out of Paris when I was six, so I lived a few years in the countryside. I came back to Paris when I was 16 for art school.

Format: How would you characterize your work?
Raoul: It’s always hard to do this by yourself. Most people tend to see it as very dark. But I see a lot of humor, too. It depends on your personal appreciation of darkness – I like weird things.

Raoul Sinier

Format: There is a lot of Francis Bacon in your work.
Raoul: Yes, thanks! He’s my major influence. It’s not very obvious in my work, but apparently some people can see that. That’s nice.

Format: There are two major themes in several of your paintings: technology and mutilation. Do you think these two things have a link in modern society?
Raoul: Maybe, but I never intellectualize my work. Mutilation – it’s mainly because I like to work on the human body and since I’m not really interested in realistic painting, I usually add a weird or unusual side to my illustrations. I like an image to catch the eye, but I almost work on the meaning of it. Or maybe it’s unconscious. That’s totally possible. But I just aim to have fun, and, as weird as that seems, this is the most fun I can have, drawing body parts and stuff that doesn’t really belong there – sometimes it’s a bit painful and sometimes it’s just nonsense.

Format: That’s an interesting take in our world today, as there are several conflicting viewpoints on everything from art to politics.
Raoul: I’d say it’s a coincidence. Maybe awkward visuals remind us of a bad aspect of modern society in a way. You can always connect this with something that doesn’t work in usual and political life – something like body parts melted with industrial bits is a good example of that. But, speaking for me, it’s really an aesthetic reason.

Raoul Sinier

Format: Like a placement of flesh and metal?
Raoul: I find this nice, yes, like Giger’s work, for example. I’m more interested in the straight image than what would be underneath the picture. Of course I’m interested in the theme, like all the violence present in Geiger, but for me it’s a global feeling, not something precise and obviously explainable.

Format: As far as music, fashion, literature and film what influences you and your crowd in France?
Raoul: A bit of anything, but not especially in France. Thanks to the Internet and new media, we can get a lot of anything.

Format: I hear that. What’s next for you?
Raoul: I’m doing more music and more art exhibitions. This is exciting, in two days, I’m going to do a gig in Berlin and an exhibition and a video projection on the same night. I’m very happy to go to Germany, especially for the music. Paris tends to be a little limited concerning music right now, not for me, but in a general manner.

Format: Any last words?
Raoul: Well, even if it sounds very naïve, never take yourself too seriously and don’t over thing what you do, at least, that’s how I see art.

More Info: http://www.raspage.com/

Raoul Sinier

Matt Thomas

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