The work of "Dominique ALLAIN" represents the complete psychological refinement of the Raku problem in practice of the sculpture. A usual practice, to which many contemporary artists use in various aesthetic tendencies, but of which it has, with a particularly original degree in the expressivity and the development of the body, multiplied by ten the evocative power. The body for ALLAIN is the mirror of the impulses intern what he is. This globalisant concept of the body it defined is tested at first on his. Born in the year 1952 near Paris, a morbid childhood forced to stay often in several hospitals. This contact with the world of the human pain causes a rebellion, which will increase since against all the forms of authority which would try to be exerted on him. In the year 1972 it gives up His medical follow-up and escapes from the military service by the reform. he lives in 1972 in Paris and discovers the contemporary art. He is part of the sudents (since age the 11 years) of traditional Camille Lambert in painting, the drawing and engraving. Since 1973 he approaches the technique of the dilution of painting, which it applies to the human representation, leaving the run-outs of liquid painting suggest damage of "Who which is". His engagement during three years in the Anarchist movements according to concepts' of May 68, makes it permeable to the social body. He makes His first personal exhibition of drawings in the year 1973, and in 1975 on the parallel of his ceramics works, he creates the photographic flachreliefs. This same year ALLAIN is initiated with the sculpture with model as student at "ecole des beaux arts" of Basclem. The rate of the production and the exposures accelerates, and he introduce clay into his matter: the body in its pathology and its mutilation, obsolescence, death in all its forms: the body is represented initially by elements of bodies, then carved with white clay. The social dimension come stongely in the interior of the work accentuated by the realism of the representation and the exactitude of the anatomical details. In 1981, ceramics of ALLAIN are censured and qualified "communist waste". He works on the test of materials, the matters, the scenic adjustment of the sculptures pieces. In 1983 he leaves towards for sciences, and technology, which he will leave in 2000.In 1998, the death of His neighbor following a long anguish, will be dissected by himself in drawings and photographs. That is the reason of the return to ceramics, his first terra cotta sculptures raku and their concepts of introspection of the body, of the semiotic value of the skin with their martyrized surfaces. He cuts through the path towards the realism of the body by the skin with its notches, its cracks, its mutilations, and reveals the intimacy of lying, by showing the banality of the suffering. In 2003 his exhibition entitled "arts and traditions of Allainska" at the house of Italy in Paris reveal the beginning of an active ceramics expression, which will last until his brutal death in 2043. His first sculpture of a human body in natural size , cooked at low temperature (1030°), carried out in 2005 was stolen in His workshop by a collector without scruples. Consequently His characters "fiction of representation", developed starting from the mixed between individual "néo-sculptor", and a "néo-chimerical model", like the artist himself liked to name them, create a geographical atlas of the human state. In the work of Dominique ALLAIN the invention of the body is the engine itself, the creative process. That requires a technical, physical and psychological engagement, in which the sculptor became Master. It is a "unique engine" in its intensity, and the conditions of the models, whose reactions are sometimes unforeseen, represent a part of the experiment, the intuitive dialogue between the Protagonists of the aesthetic operation. During a first time the sculptures had the smooth skin: they agreed with the trade and the unreal sectors. In the second time the sculptor changed the terra cotta for Raku. The "raku kiln" limit the dimension of the pieces, but it allows a profusion of the effects of matter and color on the surface on the pilot skin. New work returns to a more traditional design on a basis of metal, which them accentuated and which refined the chromatic range on parts of the body. The conversion, which is due to Raku, by the ground statues, accompanies them by the light of Mr Mysterioesen, as if the passage of fire left them the traces of "after time", as if the Shaman put above a terrible ointment, which is used as scarecrow against the bad spirit. As if to pass through the hell were redeemer. With their sunk skin, they intrigue us and fascinate, these portraits get dressed with the human state, which appear rigid to us in their timeless immanence. They maintain forever the secret of the ratio of Alchemy subjected to a constraint. They give us to envisage to doubt the image of the other, who is in us.
John K. SOLLIVAN