Practice

Audrey Néron’s painting practice is situated at the boundary between figuration and abstraction. She is interested in the moment when a still-recognizable form begins to transform, fragment, or merge with its surroundings.

Her paintings generally begin with a source image—personal, found, or drawn from art history. The image functions as a starting point rather than a model to reproduce. Néron quickly departs from its composition and narrative, allowing painting to introduce its own deviations through successive layers, superimpositions, coverings and erasures. Intuitive gestures alternate with slower decisions that reorganize the relationships between figures, colour and space.

The body is central to her research. Rather than treating it as portraiture or stable anatomy, she approaches it as a territory in transformation. Figures draw together, overlap and fragment until they become masses, rhythms or pictorial passages, where flesh, gesture and environment share the same space.

Néron seeks to produce images that resist immediate reading. Their density and scale ask the viewer to slow down, move, and reconsider what they thought they had recognized. Painting becomes an unstable perceptual space in which the image remains open and meaning develops over the duration of looking.