Destination: Bourgogne. One hour from Paris. Marcellin opens the doors of his studio to us.
In the air, the scent of paintings and paintbrushes. An intimate atmosphere, just like the walls that face us. Born into a family of craftsmen from father to son for five generations, Marcellin has chosen to paint his own way.
"Even though I did not take over the family business, my family surprised me by leaving me one of our workshops. A former pre-war dance hall, now a workshop and creative studio. I try to go there every weekend to recharge my batteries outside of Paris and meet up with my family."
Trained as a designer, Marcellin Boyer studied architecture and design. Between two revisions, he cultivates an intimate relationship with art.
"When I arrived in Paris, I spent my time in the auction houses of the 9th arrondissement, and still today, in the brocantes and flea markets."
The rare and the unusual are treasures that inspire the artist. It is the meeting of abstract art, contemporary art, Warhol-like pop fantasy and the tones inspired by the Cobra movement.
"As far as art is concerned, I have always been interested in history first, movement second."
In terms of style, Marcellin is a fan of second-hand clothes, which he blends with couture pieces and timeless pieces as he finds them. His style is based on well-crafted cuts and noble materials. Art and shapes right down to the sleeve.
"I feel comfortable in the October wardrobe, with its classic and timeless pieces with impeccable finishing," he confided.
"During the shoot, I fell in love with the blue work jacket. I've always wanted one in my wardrobe. It's almost poetic for me, who has always symbolised the artist in this type of outfit. I could hardly contain my joy when October gave it to me at the end of the shoot.
A sought-after blue suit, therefore, which joins the selective wardrobe of an artist we follow closely.
Le canard inquiétant. Asger Jorn. 1959.
"It is a reflection of our times: a bright and simple everyday life. A silent, opaque and blurred threat."
Infiltration homogène for grand piano. Beuys Joseph. 1966.
"If it is not the most beautiful, it remains the most striking work during my studies.
Yellow over Purple. Mark Rothko. 1956.
"Classic. Sober. The demand for detail. The depth of the work. A warmth. Summer."
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