|croquis au bloc de graphite|
La vraie question
|Un travail plus académique|
- manifester l'état d'esprit ← → la palette colorée, l'harmonie
- manifester la vitalité ← → les outils, la matière, le tempo (rythme)
- manifester le concept ← → la composition, la structure, la ligne mélodique
Contrôler sa vie ?! Lol
|Commencement en clair-obscure et chaud-froid|
? Que voit-on sur mes toiles ?
|Premières traces de peinture|
- invitation signifie que l’observateur est convié à observer gratuitement un tableau qui lui est proposé. Peut-être sera-t-il conscient du rôle essentiel qu'il va jouer dans la vie de l'œuvre.
- lisière - edge est une indication exprimée dans ma langue maternelle et dans une des langues internationales (je crois que je vais ajouter l’espagnol pour tous les habitants de cette terre parlant cette langue magnifique : «borde» ; je reprends
- lisière - borde - edge est une indication exprimée dans ma langue maternelle et dans deux des langues internationales les plus utilisées par les humains de cette planète pour communiquer. Je veux indiquer par ce sous-titre que l’observateur se laissant pénétrer par l’image qu’il regarde se trouve effectivement à la lisière de deux espaces-temps. L’un de ces espaces-temps est purement matérialisé, concret. L’autre peut être ce que les grecs anciens appelaient le diaphane : proche de l’abstraction, le diaphane est l’espace-temps où tout devient compréhension, où le sens, les significations de toute chose apparaissent. On est d’un côté dans la «nature naturée» alors que l’autre est dans la «nature naturante», pour ceux à qui ce concept permet de comprendre mon propos. Pour être plus clair, nous avons d’un côté ce qui est et de l’autre ce qui nous permet de concevoir, de comprendre et de parler de ce qui est. Je simplifie exprès. Les philosophes et autres intellectuels font cela mieux que moi, qui préfère l'exprimer par ma peinture. Mais, lisière - borde - edge est aussi présent dans le tableau. L’observateur peut ainsi s’amuser à trouver la ou les lisières -borde -edge, les représentations qu’elle délimite (sépare ? unit ? relie ?) et les idées propre à sa personne que cela lui inspire. Sorte de jeu spirituel, en quelque sorte, mais qui développe chez chacun de nous des notions, des concepts et des comportements affiliés qui peuvent nous permettre de développer des valeurs que je crois indispensable de renouveler, rafraîchir, voire découvrir.
- n° xy dénombre les invitations lancées comme des gouttes de pluie à la mer.
|Rembrandt : Lutte de Jacob avec l'ange|
(Jacob semble dormir, rêver peut-être. Non?)
Pourquoi préférer absolument un original à une bonne reproduction ?
IntroductionWho says art says technology, by definition. Who says technics says control. Certainly. But to which point?
Let me explain. If I consider the technique of oil painting, I can admit that, provided it is performed according to the rules, the control of the development of a picture is total, except for the ancient varnish protection which gets yellow by the time and must be replaced. However, this too is under controle.
The technique of watercolor called "damp" implies some ability to manage the uncertainty of the movements of the pigments in the thin layer of water that covers the sheet being processed.
And then, there are projections techniques, mists and other "dripping" we used indeed for their ability to reproduce the effects of hazard, or more realistic and lively textures.
Here we are ! The chaos ist summoned again.
Pierre Bonnard said that the problem is not to paint life, but to render painting alive.
I agree 100% about it.
That's why I keep coming in this blog - which I use as a sandpit - to this notion of chaos, that I wish to introduce knowingly in my painting. But so far, it was only theoretical.
Having been through potentialy fatal, as well as unpredictable, health problems, I finally integrated what "extreme sensitivity to initial conditions" can mean in my life, but also in my art practice.
Thus, in addition to admit the random factor as favorable to the maintenance of life, I also accept it as invigorating my artistic practice. To the point of fostering the emergence of pictorial traces of chaotic nature.
The real question : How to live it in the paint?There is, certainly, the initial project, the one that puts me in front of the white page. Then I superimpose, one after another, each layer holder of the impulse enhanced by the vision of the previous layer, depending on the visual emotion that I want to achieve temporarily or finally.
More practically, at the draft stage, I use the most unlikely tools: painting knife with very liquid color, large block of charcoal or graphite, painters brush, large sponge, cardboard pieces,paper torches, etc. In addition, I will work at a very fast pace. Finally, I will operate a time lag between the observed place and the one where I put the trace: I actually look where I will paint next, not where I am painting now.
It is only in the later stages that I come in with more specific tools to make choices: developement, withdrawals.
After each session, everything is observed anew, questioned, tested, evaluated and digested. In one word: back on the job with confidence. The next session is seeded.
In between sessions, I pass general glazes to harmonize, nuance or shade the main areas.
Arrived in a soothing stage of evolution in the creative process, I can begin to publish the work and its future developments. It then ends in the mind of its observer. Here again, extreme sensitivity to initial and actual conditions arise invariably . The work becomes multiple, whatever my subsequent interventions.
"You follow highways, whereas you are able to dance on a wire!" said Grzegorz Rosiński to me. I now understand what he meant. So far, to speak precisely, I made use of an academic as rigorous as possible, associated with relatively narrative subjects, necessarily symbolists. My painting was rather narrative. Currently, it would be rather demonstrative.
My eyes and my movements are safe enough to enable me, after a moment of concentration, to work quickly. It's like hurtling a mountain pasture. If you go instinctively, your feet barely touch the ground. You fly! If, instead, you try to watch your steps, you are good to break your face.
Even repetitive, drawing or painting, I work the most energetically and boldly possible up to the exhaustion of my palette or when my goal is reached. Along the way, I happen to improvise, wishful to provoke the unexpected.
To speak pictorially and conceptually, those are the means through wich I try to express myself:
show the state of mind ← → colorful palette, harmony
demonstrate the vitality ← → tools, material, the tempo (pace)
demonstrate the concept ← → composition, structure, melody
Obviously, these different strata of the work are permeable, osmotic even. If they appear to my mind during my preparation time or periods of decline, they remain active "unconsciously" when I set up my traces on the sheet.
While developing and at the end, appears a vivid likeness of beauty and joy...
Provided that at the time of painting I was animated by these states of mind.
But why should it not be? Living, loving, loved, sometimes serene: I want to share.
Gilles Deleuze associated the art to the idea of resistance. Resistance to stupidity and wickedness so easily invading the place when it is not occupied by intelligence (he said philosophy) or art.
Control one's life? lolMy failures in this area were numerous and led me to finally take the problem from the good side.
Thus my painting becomes, I said, the reflection of my love of life and teaches me, through de deeds of my art, my artistic approach, to live in harmony with the synergy of the vital principle of the universe, which is qualified, according to one's culture, divine.
By accepting the extreme sensitivity to initial conditions of this vital principle, of Life (theory of chaos, inability of the human beeing to predict his medium to long term future, which render hope difficult or even fallacious, fractals), I learn to live in the present and to evolve according to the excellence of what I am offered and with what my resources (sense and intelligence) allow me to understand. Spinoza would not disown me.
In short, in order to fully enjoy an authentic art, I must paint uproariously, color (or "co-lol") in bursting and be hiding the treasure to ensure the full joy of the moment of discovery for the observer (depending on a poetic principle set by Stéphane Mallarmé)!
You'll understand that the manner I live and paint is in any way based on fatalism or carelessness of some sort. Hope (which I prefer to do without) and/or control (I reduce to the maximum) imply a better future (meaning "the present"); confidence implies a recognition of the propriety of this "going" live. If hope is (sometimes, not always, because it often meets a great suffering) easy, being confident is demanding, demanding as much "faith" (in ancient Greek, trust and faith are the same word).
What did I mention in the above? Art? Technics? Control?
I have spoken only of a creative process, an attitude that I consider suitable for my need to produce paintings in order to be reassured and happy.
But how does this relates to the observer ? What does he see? What is the real subject of my painting?
What does one see in my paintings?I've got used, since a few months, to title some of my work "invitation border - edge No. xi."
- Invitation means that the viewer is invited to observe, free of charge, the picture presented. Maybe will he be conscious of the essential role he - his stare - will play in the bringing to life of the artpiece.
- Lisière - Edge, is an indication expressed in my native language and in another international language (I think I'll add in Spanish - for all the inhabitants of the earth speaking this beautiful language - "borde";
- Lisière - borde - edge is an indication expressed in my native language, and also in two of the most used international human languages of this planet, to communicate. I want to say by this subtitle that the observer, letting himself being penetrated by the picture, its stare is actually located on the edge of two space-times. One such space-time is purely materialized, concrete. The other, beeing what the ancient Greeks called "the diaphanous" (close to abstraction), is the sheer space-time where everything is understood, where the sense, the meaning of all things appears. It is one side of the "nature natured" while the other is in the "natura nature" for those to whom this concept helps to understand my point. To be clear, we have a side that is, and the other which allows us to design, understand and talk about what is. I simplify purposely. Philosophers and other intellectuals do this better than me, who prefers express it through my painting. But lisière - borde - edge is also present in the picture. The observer may well have fun finding the edges, or borde, the representations it delimits (separates? unit? connects?), and the ideas that inspire him. Sort of spiritual game, as of to speak, but which develop in each of us notions, concepts and affiliated behaviors that can allow us to enhance values that I believe essential to renew, refresh or even discover.
- No xy : enumerate the invitations like raindrops in the ocean.
A friend, artistic arouser if any, was fed by his father with the milk of modern art, contemporary of the 60-70th. He attended art classes animated by very enlightened people on contemporary art critics, historians and artists. Consequently, it is not surprising that he has a well sharpened sensitivity to the art of our time. He is unrivaled to drop the scales from my eyes and allow me to consider contemporary art with a wider opening than the one I had before knowing his work. Here is a link to the "Below the visible" Jean Mineraud → https://www.youtube.com/user/jeanmineraud/videos]. I thank him once again.
For my part, I am self-taught-painter or almost (I had the opportunity to study a semester under the enlightened eyes of Patricia Bannwart, Grzergorz Rosinski, and Lech Majewski, whose remarks and encouragement still stimulates me today. Before that, I had as sole visual culture old Disney books and a Catholic Bible profusely illustrated with reproductions of painters from the early days of the Italian Renaissance (Giotto, Duccio) to Rubens and Rembrandt. I vacumeed these images from the age of five years until the end of my adolescence, a period where I received my first lessons, made by teachers other than myself.
All this to say that it is not surprising that, under the leadership of Disney and the Bible, I have developed in my childhood a tendency to want to transpose the best of my inner world in the common visible world!
But it stops there.
Each one's universe is both too precious and too fragile to allow me to do violence on purpose. I simply wish to offer testimony to whom could be interested. Sharing is an option, not an obligation. I'm more bear than sardines bench. Finally, I will not feel in any way offended if the only interest in one of my works is purely and solely decorative.
The key is that it be accessible to all, beyond a spirit of possessiveness, todays reproductions offering sufficient quality to amateurs more supplied by IT tools than by unique events.
One could also make a detour on the subject.
Why prefer absolutely an original instead of a good reproduction?An artist or a student may be better informed about the technical aspects of the pictorial creation they study. A connoisseur will be better able to produce a catalog raisonné of the work of an artist, catalog which can alternatively justify the astronomical prices charged by the art dealers and launderers values (I provoke a bit, there are also wealthy amateurs and well-intentioned, but it's my blog, so ...).
For the rest, good reproduction, even of a different size than the original, already offers a great evocative potential, often enough for the emotional, but also analytical,reading of a work. In addition, most of the available reproductions are often at a derisory price, if I except some very top quality art books or preferential prints, that once again feed a very particular market, once their status of gift of esteem, autographed or even increased with a lithograph only serves to increase its market value, yet necessarily secondhand.
So my work is always on loan and available for reproductions, free if the recipient has no personal desires ie format, support or number.
Isn't life beautiful?
- stop babbling… go back to painting !