Born with artistic genes, Gérard Brand has an inborn talent as a mosaicist with all his heart and to his fingertips. Out of his golden and nimble hands have risen for decades figurative or abstract paintings, evocative shapes or unusual sculptures.
From his earliest youth, he has submitted to his will and inspiration “Tessellated Squares” of coloured marble stone stuck together side by side in mosaic patterns. And the viewer’s eyes referring to Pompeii or Ravenna are turned on works that upset him and make him lose his bearings. On sight, he is surprised by and wonders about the artist’s stunning creations but it is merely and first an early stage that he discovers with his passing exhibitions, first in Alsace then throughout Metropolitan France and finally outside the national borders.

At this stage, his works are still kept up in familiar settings gradually amplified by abstraction. Then the time has come for monumental mosaics when – following the example of the former Italian masters – a team does part of the work. From Africa to the Old Continent his achievements follow one another in a boundless imaginative outburst and excitement. His unremitting work and his utmost research work lead him from molten glass to marble work, from slate to pieces of enamel, from metals to other raw material. Strange and fabulous shapes come into being, never tormented because Gérard Brand is moving continuously in an exultation that is wonderfully rendered by his creative work.

As you leave after seeing an exhibition of this atypical, unusual artist, you remain overcome by the wealth of the shapes, the colours, the characters, the bestiary, the stacks and piles or his provocative creations. His art makes up a whole that you only can absorb after a great many approaches to it.
Even so, our mosaic artist does not confine himself to his long-standing experience. He still goes on breaking new ground in art as he notably elaborates upon the concept of “mosaics viewed in a different way”, piling up in a new way original tessellated squares one above the other without any support and by letting appear spaces having an openwork design: those tessellated squares combine or harmonize, jostle together or clash in subtle, poetical bright and sudden changes.

Paying attention to artistic research work of his time, Gerard Brand has no intention of locking himself into a school of artists: being a perfectionist, keen on his art and full of vivid imagination, he prioritizes free gesture for creation as well as the impulses of his heart. He still finds again and again enough energy to respond, in France as well as abroad, to planned exhibitions, to more specific interventions and trips and endeavours to respond actually and favourably to the numerous requests.
But when it turns out to be of vital importance, he also knows how to keep his private secrets so that he can concentrate in his innermost on his new creations and immerse himself in the bliss of his so unusual art.