Michel Haillard, créateur d'univers.

BIBLIOGRAPHIE
Trônes & Parrures
de Michel Haillard

Relié: 24 pages
Editeur : Michel Haillard
Langue : Français

Michel Haillard
Edition bilingue français-anglais de Renaud Siegmann, Jean-Luc Cormier, Philippe Starck et David Macey

Relié: 120 pages
Editeur : Cercle d'Art (1 décembre 2007)
Langue : Anglais
ISBN-10: 270220855X
ISBN-13: 978-2702208557

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Tribal poursuite
de Michel Haillard

Broché: 117 pages
Editeur : Alternatives (11 octobre 2000)
Langue : Français
ISBN-10: 2862272477
ISBN-13: 978-2862272474

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1959
23 October, birth of Michel Haillard in Saint-Denis, outside Paris.
1971-1993
Beginning of a great passion for objects and sculpture.
1976-1979
Ecole supérieure des Arts Modernes, Decoration Section then Advertising, Paris
1979-1980
Layout person for advertising (Saphir-New print)
1980-1987
Freelance cartoonist (Philips, Virgule, Help, fondamental, etc.)
1984
First animated film for the Scremm (Crédit Agricole)
1984-1987
Directed and wrote the scenarii of numerous animated films/videos for institutions (Crédit Agricole, Télécoms, Câbles de Lyon, Cité des sciences de Paris, etc.) Three prizes at the Festival du film d’entreprise de Biarritz
1987-91
Created, directed and wrote the scenarii for the animated cartoon series Sharky et Georges (104 episodes)

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1992
First exhibition of sculptures at the Village Saint-Paul in Paris
- Permanent Exhibition at Sylvain Calvier

1993-94
Exhibition “Composition”, Lyon and “Karen Blixen”, Samaritaine, Paris

1995-00
Group exhibition at the Studio Primo, Paris and at SAD, Beirut.
- Permanent exhibition at the Galerie Mostini, Paris
Salon Maison et Objets - Scènes d'intérieur
Various collaborations with numerous designers.- Stephan Woelk, Saint Paul de Vence
Antik France, L'île sur Sorgue
Comptoir de Megève
Too Dumb Blondes, Gstaad
Selvagio, Ascona
A mobilia, Zurich
Horst, Munich
Hausner design, Berlin
Paula Berg, USA
Al Bayt, Saudi Arabia
Petals, Dubai
Jato, Bologna
Jeroen Wolterink, Amsterdam
Rome
Exhibition “Composition”, Lyon and “ Karen Blixen”, Samaritaine, Paris
Group Exhibition at the Studio Primo, Paris and SAD, Beirut.
Permanent Exhibition at the Galerie Mostini, Paris
Salon Maison et Objets - Scènes d'intérieur
Various collaborations with numerous designers
Stephan Woelk, Saint Paul de Vence
Antik France, L'île sur Sorgue
Comptoir de Megève
Too Dumb Blondes, Gstaad
Selvagio, Ascona
Etc…..
2000-2001
Permanent exhibition at the Galerie Nataf, Paris
Group exhibition at PMCO Style, Paris
Sanderson Hotel, London
2002
Permanent exhibition at the Galerie Omagh, Paris
One-man exhibition at the Galerie Bellecour, Lyon
Galerie The Link, Singapore
SB Interior Gallery, Marbella
Flemming Gallery, Atlanta
Louise Bradley Gallery, London
2003
Exposition personnelle à la Galerie Too Dumb Blondes, Gstaad
Exposition personnelle à la MiessenGallery.com, Brussels
2004
Permanent exhibition :
MiessenGallery.com, Brussels
Galerie Dunhill, 15 rue de la Paix, 75001, Paris
2005
Galerie Omagh, Paris
M Gallery, Brussels (Belgium)
Dunhill, Paris
Pavillon des Tuileries, with the Galerie Omagh, Paris
Guest of Honour at the Salon d’Automne, Paris
Moscow World Fine Art Fair, with the Galerie Omagh, Moscou
2006
Galerie Omagh, Paris
Salon “ La Réserve ”, Knokke with M Gallery, Brussels (Belgium)
Headquarters of the Cirque du Soleil, Montreal
Creation of schemes for private individuals
2007
Galerie Omagh, Paris
M Gallery, Brussels (Belgium)
Creation of schemes for private individuals in Russia
2008
Galerie Omagh, Paris
Maison et objets
2009
Galerie Omagh, Paris
Galerie Lorenz Bach, Gstaad
Maison et objets
Volkhonka Fine Art Center, Moscou
2010
Galerie Omagh, Paris
Salon Adihex Abu Dhabi
2011
Galerie Omagh, Paris
Eurantica Fine Art and Antiques Fair, Brussels
Galerie La Plantation, Beijing

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The curve that follows the development of an artistic style or movement seems to go from simplicity to complexity: The capitals of Greek columns start with the formal purity of the Doric style then move to the enrichment of the Ionic, to end up with the intricate exuberance of the Corinthian style. Early gothic leads gradually to the flamboyant style, and the neo-classical style of the Renaissance extends to the Baroque and explodes into the excessive Rococo.

Michel Haillard’s furniture could be characterised as creations of an exotic, paradoxical Baroque design. Design, which initially meant draft or drawing, and strikes a balance in French between “dessin” and “dessein” – is defined in the Robert dictionary as the “search for new forms adapted to their function.” The word Baroque is derived from the Portuguese “barroco” (rolling the r’s), which means irregular or wild pearl. Synonyms given by the Robert include: bizarre, eccentric and irregular.

Michel Haillard’s furniture manages to combine these two notions with an astonishing mastery of inspiration. Are his armchairs, chests of drawers and couches functional? Certainly so: the armchairs are thrones for tribal chiefs, dignitaries full of their own self importance or people who are fully aware of the value of due decorum; the chests of drawers are caskets for documents or valuables and secrets; the sofas can only accommodate couples with as tousled, yet externally controlled passions, as the symmetrical and balanced tangle of their forms and constituent elements.
Michel Haillard has been collecting these elements for years as they surfaced during his explorations and investigations.

Exploration is the right word because of what his calls his “tribale pursuite” (an eccentric term that reflects perfectly the character of his works): both wild (because pleasantly perverted) and playful (because it does not exclude humour to the second degree). Haillard combines the indisputable natural dimension of his materials – corns or tusks of different origin, skins of leopard, crocodiles and zebras which have already delighted several generations of hunts – with a whimsical spirit, unbridled imagination, a manifest nostalgia for pomp and irony. His ‘pursuit’ is concurrently a coherent, deliberately extended creation of the unexpected, the unusual, while being tribal by its haughty, aristocratic character, retaining all the while an underlying, non-confessed awareness of excess.

Michel Haillard is (look at his picture) a rather giggling Viking who has emerged from his mists, stunned by the multicolour effects of the fleeces and horns of exotic animals, all the more fascinating as they are strictly ‘natural’. Is he an artist or simply an ‘assembler’? Unquestionably an artist, owing to his ever so personal way of transmuting objects of nature that fall into his hands, subjecting them to new functions (Marcel Duchamp could be his uncle) and, instead of de-naturing them, vesting them with an unsuspected functional nobility. In his work, two styles, two sources of inspiration, two uses of an artistic creation meet, finding their agreement and unity in the phantasmagorical vision of an artist who, instead of yielding to the imperatives of his materials, bends them to the piercing quality of his creative mind.

Wim Toebosch
Association Internationale des Critiques d’Art

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