Private Splendours


Decors Oniriques

by Pierre Peyrolle


WONDER AND CONVINCE

It could be Pierre Peyrolle’s motto. His manner in fact proceeds from the Kunstkammers, these cabinets of reborn wonders like baroque art which has rhetoric as its first principle. It amazes and convinces at the same time, taking the spectator into a world where materials, shapes, colors meet. A feast for the eyes. A whirlwind for the mind. A fantasy, sometimes excessive, sometimes of a rare subtlety. An art of staging and theater, but which is not ephemeral. “The whole world is a theater scene”. By choosing this quote from William Shakespeare, Pierre Peyrolle reveals his secrets. The decor is for him a theatrical setting, but it reveals a world. Or even worlds. Those, interiors, of men and women for whom they compose sets which reveal everything only to those themselves who inhabit them. Those of objects, expertly chosen, artistically arranged and even “scripted”. Pierre Peyrolle’s manner is in this capacity to play balances and staging. An informed eye, but also mischievous. Pierre Peyrolle plays. He hides and reveals. He has a taste for secrecy as well as appearance. He plays codes, habits, of himself too. He places an object on a console in the middle of a landscape as if by chance had planted it there. He mixes gold, marble, velvet and natural curiosities in a gigantic display case. It gives the chimney the shape of an open mouth which we do not know if it devours or if it howls. He composes like a musician: operas especially but sometimes also chamber music. An entire orchestra, followed by a voice. The manner of Pierre Peyrolle surprises at a time when the interior decor is in the measure, forms as colors. He resolutely chooses the party of generosity. The pomp. Of “great taste” which the contemporary eye has forgotten what it had, at the time of its creation, excessive in colors and the association of forms. Over time, the decorations of the Grand Siècle lost the colorful luster of their shiny golds and shimmering textiles. Pierre Peyrolle brings them back to life. Its sumptuous decorations are not immediately accessible. They require the spectator to accept to be carried away in a world of colors, shapes, materials, which is that of pomp, surprise, enchantment. At the bottom of entering this theater stage to play its own role and thus discover a real world.


The dream world of Pierre Peyrolle is the triumph of curiosity, in the seventeenth-century sense of the term, that is to say in the acceptance that La Bruyère gives it which “is not a taste for what is good or what is beautiful, but for what is rare, unique, for what one has and what others do not have. It is not an attachment to what is perfect, but to what is run, what is fashionable. It is not fun, but a passion, and often so violent, that it yields to love and ambition only by the smallness of its object. ” Pierre Peyrolle’s manner is in this taste for the unusual, the rare, the quirky, the unexpected, the unique. The staging of cabinets of curiosities testifies to this: point of restitution, point of pastiche. No, from the invention. Make new with old. Strange with rare. To amaze those who are fortunate enough to enter a universe that they thought could not exist. A cave of shells and minerals, a living room of wood and velvet where the curve of the Italian baroque triumphs; a gallery of cabinets guarded by Moors. The play of shapes, materials, colors. A taste, for sure. Who draws from the models of the past, but reinvents, even in a contemporary decor where polychrome gaiety has given way to black and white. The taste of pomp.

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