with Albert Chamillard
On vintage ledgers and notebooks, artist Albert Chamillard (previously) harnesses the power of crosshatching and simple outlines to render flat, geometric shapes that appear to emerge from the page. The meditative works utilize varying densities to add depth and volume to clusters of cylinders or undulating, ribbon-like forms. By rendering each piece in a monochromatic palette of black or red, the artist draws attention to the meticulously laid lines and deceptive dimension of the forms.
Currently, Chamillard is preparing for a solo show opening on December 3 at Etherton Gallery in Tucson, where he lives. He’s also been collaborating with Hermès on a series of works soon to be released, and you can follow updates on those pieces and find an archive of his painstaking drawings on Instagram.
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Tucson-based artist Albert Chamillard (previously) spends hours, if not days or weeks, crosshatching cylinders, sliced cubes, and three-dimensional arrows. Rendered on vintage ledgers and graph paper, each geometric shape relies on the density of the artist’s pen markings to create works that appear to stand straight up off the page.
Chamillard describes his process as absorbing, often occupying him for hours at a time as he meticulously draws line after line. “A much longer process is developing the drawing in pencil first so it looks ‘right,’ meaning it fits within the page and balances the shape and looks like it belongs there,” he says. “Composition is a huge part of my work, and if it doesn’t fit on a page correctly, I won’t bother finishing it.” Despite being non-representational, the works also hold information like a diary or journal. “When I’m drawing, I thinking about everything else in my life, and usually title them in a way that conveys that snapshot of time for me, so I can look at my older drawings and know roughly what was going on.” The artist hopes to convey the necessity of devotion and patience in creative work.
Each monochromatic drawing has a meditative and hypnotic effect, and Chamillard’s fascination with light and shadow began in 2017 when he started rendering three-dimensional shapes. Since then, though, he’s shifted his intention. “I am currently focused on drawing fabric, specifically folded fabric, and translating it into drawings using the same crosshatching technique I’ve been using 6 or 7 years,” he says. “I’m also experimenting with larger drawings comprised of multiple sheets of ledger paper.”
Often sourcing his materials from thrift stores and yard sales, the artist tells Colossal it hasn’t been as easy to obtain old notebooks in recent years. “They have since become much more difficult to find, so I rely on Etsy if I want a specific one, and I’ve also had the benefit of strangers on Instagram sending me ones they find (If you have an old ledger you want to see go to a good home, please contact me!).”
To see more of Chamillard’s volumetric drawings, and perhaps to share some of those papers you’ve got piling up in the attic, head to Instagram.
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Albert Chamillard’s monochromatic pen drawings have drawn acclaim for their ability to calm the minds of viewers. It’s interesting to learn, then, that Chamillard listens to punk and metal while crafting his art, which he shared in an interview with Faithwaites. Though each monochromatic pen-wrought work is undeniably flat, the artist’s careful use of cross-hatching creates a sense of volume by contrasting more- and less-saturated areas. Chamillard uses found and deadstock paper, especially vintage ledgers, and engages the papers’ subtle blue and red writing rules to frame subtle zig-zag patterns within each imagined plane, which further enlivens his seemingly simple drawings.
When he’s not working on his personal projects after hours, Chamillard runs a drawing and book making studio in Tucson, Arizona. He is represented by Eric Firestone Gallery in New York and Etherton Gallery in Tuscon. You can see more from the artist on Instagam.
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