Alain Bellanger was born in 1953 in the Indre, in Châteauroux. Soon, his artistic talents were revealed.

After several aborted beginnings of studies, he joined the company Seita, where he remained for 13 years. During those years, he will start to think about his life and paint. His meeting with Gerard Laplace, a local artist, will also serve as a trigger.

Going from an expo to another, covering a variety of topics, rusty truck, landscape, academy, he will find a common thread, which he is now recognized for, namely cucurbits in particular and the vegetal world in general.

He creates his method and style; walking through the fields and orchards with his camera, in search for the best colors, the best exposure. His hundreds of photographs serve as a basis for his work.

 In 1987, Alain Bellanger exhibited its work everywhere: Paris, New York, Los Angeles. His personal and professional life took a decisive turn: his girlfriend left him, he left Seita and jumped on a couch.

Meanwhile his technique refined, and he explored other subjects: fishes, bathers in pools, cans of oil paint used, boxes of crayons. His vegetals were affected by gigantism. Large sizes were emerging from the artist’s work, 120 x 160, that were created in his workshop in Argenton sur Creuse.
His passion for cucurbits led him in 1995 to devote an exhibition to them :

« Naissance, Vie et Mort des citrouilles : l’Aventure Totale »

In 1997 the artist left the city "to gain more peace". He bought a house at the edge of the Creuse, in a paradise on earth. From now on, he works all his pastels at home, his house is entirely devoted to his workshop.

Alain Bellanger is not a conventional artist. He admits to have thought about exploring other projects, but always returning to the vegetal world as attracted by its own cardinal richness. His work can be described as hyperrealist, but get close to his artwork and ask yourself: isn’t there any hidden messages or objects? Indeed, the provocative character of Alain Bellanger pushed in that direction. We come to discover forms recalling a famous little mouse with big ears, words misused, a barely concealed eroticism and so on.

When you are in front of an artwork, keep this in mind: is there a Mickey Mouse, where is Mickey Mouse, what derisory message reflecting his mood of the moment could he have hidden?