Philippe, born in Bordeaux (France) on June 22nd 1952, father of three, brutally cuts off with his confectioner life at the age of 24, to dedicate himself to the creation (mostly painting and sculpting). Without any artistic training, he builts his art from scratch.
For 8 years, alone in his workshop, he paints fiercely, barely seeing close friends or artists. Nevertheless, his work meets some interest: some art lovers ask him to exhibit his creations. Among them, Jean-Pierre Roche, director of the Émergences gallery in Bordeaux (France), who passionately loves Aïni's work, will exhibit him many times, thus contributing to his success in south-west of France. The same with Guy Lafargue, director of the Art Cru gallery in Auch (France).
In 1985, his exhibition at the Musée du Carmel in Libourne meets a huge success which surprises and encourages him equally; a success renewed the following year with the Art Objet gallery in Angoulême (France).
By the end of 1985, first contact with Cérès Franco at the L'œil de bœuf gallery in Paris. Under her impulse, he participates in "70 sculptures polychromes" exhibition organized by Dr Fraissiex in Eymoutiers (France) in August 1986.
That same year, he was chosen by the Translatique Théâtre director, François Mauget, to create the theatre sets of the Mario Vargas Llosa's drama "The young lady from Tacna", presented on April 27th 1987 at the André Malraux center in Bordeaux.
In 1987, Aïni also migrates to the North of France with his 3 children to join his new girlfriend in Douai (France) where he lives for some time. His work soon makes him known beyond borders, notably with the very controversial fresco he made inside an XIth century church in Flines-Lez-Raches (France), near Douai (France).
His incursions in Belgium (Modern Art Museum of Mons & International Linéart Fair of Gant in 1991-92) and in Switzerland (FIAC International Contemporary Art Fair of Geneva in May 1992) do not prevent him to actively participate to the different artistic events in Paris like the "Salon de mai" in 1989 and 1991 or the "Figuration critique" salon in 1987-1990-1991, which led him to exhibit in Moscow, Leningrad and Copenhagen, growing artistic success that "Découvertes" in february 1993, at the Grand Palais in Paris (France), only confirms.
In Évreux (France), Philippe Aïni experiments a new form of artistic expression, bodies moulding. A full set of sculptures (the bathroom) and of relief paintings, very appreciated at the Jean-Claude Riedel gallery in Paris.
In 1998, he leaves for Guadeloupe (France). Unable to express freely during that period, he returns to French metropolis where he is generously welcomed by the Oissel mayor, Thierry Foucaud. After that choice and despite doubt, creation hadn't left him and he continues to explore its meanderings (ceramics and painting).
He writes a play of which he elaborates the staging around his sets: "Sein Syphoniquement" is played for the last spring of the century at the Molière theatre in Bordeaux (France). After the Carrousel du Louvre, la maison Aïni opens in Paris, for his larger size works to find a permanent place. Foreign countries solicit him more and more (Belgium, Luxembourg, Germany, U.S.A.).
The Y2K bug
Aïni takes advantage of it to create the ainipainting.com website. Internet and the multimedia are new creation supports he wants to invest in with the help of Oueb, creator of the first version of the website.
2001 After a ceramic exhibitions, Aïni creates a bronze titled "Je t'aime".
The website is reborn in 2002 with the professionnal touch of SWS Webmasters team. It undergoes a few redesigns, along with new technical standards, to appear as it is today in 2016 in its "Mobile Friendly" version.
2002 is the year of New York conquest, where Aïni meets a great success at the Outsider Art Fair, which leads to new exhibitions in U.S.A.: he rents an artist workshop in Brooklyn for a few monthes. Isolated of everything, he will find his alaphabet, his new writing. Another exhibition in 2003 in Miami will encourage his lone course before his return to France and the September 2003 exhibition at the Galerie les Singuliers, "Évolution échangeante".
"His painting evolves and changes in colors too. The mattress stuffing paste, affinated to its extreme verticality, happily acompany the voluble writing of the painter. His vision always even, fantastic, attaching, over humanity of all eras, made alive with colors. Those don't hide the certain drama of life, but widens it: space becomes Hereafter.
Yet, in gestation since 2004, then supported by the "idées d'artistes" gallery and Azart magazine of Gérard Gamand, Aïni refines his abcd'air, punctuating his canvas and sculptures of stuffing-pictograms; thus, he monochromizes his work now, using more and more the ultimate matter, his mattress flesh, as a writing base on raw linen canvas. His artistic word does not changes, austere and authentic, widened over a world of eternal fight between beautifull and evil, a path making our contemporarity. His expression song finds its way on canvas pages, far from any school and appreciation rating.
Not searching for glory nor crown anymore, Aïni opens to light, freed."
Today, the artist works on precious woods (red ceddar, mahogany, iroko, rosewood, Lebannon ceddar) in search of unknown expressions that for him bear the sense of another humanity. Pretentious to believe alone, he continues, despite the violence and the physical toughness of that new voice.