Anthony Duranthon
7 JUNE 2025
An artist from Clermont-Ferrand with Polish roots. He works with images, transmitting both personal and collective experience. One of his key questions is how we form and build ourselves within a group
An artist from Clermont-Ferrand with Polish roots. He works with images, transmitting both personal and collective experience. One of his key questions is how we form and build ourselves within a group
It starts with an intuitive phase — connecting colors almost like a dance. Then comes a quieter stage, where ink builds up in layers. Finally, the work meets the viewer’s gaze — a moment that can be enriching or confusing. Misreadings happen, but that gap between intention and interpretation is something I find truly fascinating.
What do you feel during the creative process?
I work with images — often drawn from personal experiences or collective memory. I’m interested in how we build ourselves within a group: how we adapt, camouflage ourselves, or resist. I explore questions of belonging and the traces we leave behind — not always visible or heroic, but subtle, sensitive… like a lingering echo.
What themes and ideas can be seen in your work?
What is your current residency?
I’ve been in residence at Les Bains d’Huile in Clermont-Ferrand for the past three years, though it’s coming to an end soon. I’ve also done residencies in Regensburg and Lviv, where I met Ukrainian artists. This July, I’m moving back to Lyon, and I’m planning a summer residency in Poland.
I was born in Clermont-Ferrand and studied at ESACM. Then I lived in Lyon for a while, but my roots are in Poland. I’ve also spent a lot of time in Germany — back when trends seemed to get there before reaching France. It felt like a glimpse into the present, just a little ahead of time.
Tell us about yourself
Probably Le Paradis Blanc, a 3×3 meter wall painting I did at Salle Gilbert Gaillard. It’s a temporary piece — it’ll be erased after the exhibition. Not many understood it, but it carries a hidden, personal message I wanted to leave like a quiet trace. Its fragility and secrecy are what make it meaningful to me.
Which of your works are most important to you?
To me, a work’s value isn’t about fame or success. I once made a painting many wanted to buy, but chose to keep it — to let it live differently, through encounters and shows. What matters is its ability to endure, to keep speaking even when no one’s really looking. That quiet persistence is what makes it truly alive.
What makes art successful or important?
Giulia Andreani, Claire Tabouret, and Edi Dubien — I admire their unique approaches to portraiture and storytelling. Abdellah Taïa and Jean-Luc Verna also inspire me — the way they blend activism with sensitivity really speaks to me. I absolutely love Marlene Dumas for how she captures the complexity of being human.
Artists that inspire you?
— What matters is its persistence — the way it keeps speaking even when no one’s listening.
If your art were a music album, what would it be?
A Sound That Only You Can Hear by K's Choice.
What are your favorite places in Clermont?
Probably ESACM — that’s where I studied, and it played a huge role in shaping me as an artist. But there are also tons of other great places, like Mille Formes, that make the local scene genuinely exciting.
Is it hard for an artist to find a gallery?
Yes, it’s tough — but it’s essential. A gallery is a gateway to being seen, to gaining recognition.
We’re very lucky in France — artists can get support from the city, the region, the department, the state, and more. The French art scene also has real international reach. Without that support, I wouldn’t be able to work the way I do now. That’s especially true in Clermont, where the artistic scene is really active and alive.
Does France support its artists?
