Neither completely paintings nor sculptures, it would be as bas-reliefs that we could qualify those painted reliefs horizontally composing a score in different pieces on the space of the wall where they are hung up. Silhouettes coming out of diversified impressions… What are those forms? Organic, architectural, animal… What do they recall? The “motif” becomes an autonomous form, perhaps masks, architectural fragments, shields, organic elements, pebbles and rocks, enigmatic botanical species, stage pictograms? Those signs, those forms inscribe themselves onto the wall. Often in orderly sequences. Each component can be read in relation to others, while still keeping its autonomy. “Words” form a sentence. Here, the painting inserts its narration with a certain distance. Color embraces the surface’s territory while incorporating elements that modify it up till its very structure. The paper, which supports and contains it, recalls metal, the earth, and the plaster of frescos. It suggests a raw material that is tactile, fragile, and resistant at the same time. The balance between the insufficient and the excessive reveals inherent tensions. With both load and discretion, the color propositions encompass those of new materials, in-between what we recognize and what is imposing itself to our souvenirs, and a new unexplored territory. Surfaces and colors overlap each other. The roles are subverted. There is a shift in meaning. The copper, the oxidized metal, in the first piece of the Triptyque turquoise rose et jaune series (2006) is like a chameleon, halfway between green and blue. We are talking about pinkish and bluish tones for the middle piece, which is close to Tuscan walls, a southern geography, just like this floral ochre where naturalistic influences again give way to a dive into the world of pure and strict color. Since this series could be understood as being “diurnal”, the Voieul (2006) series and its “blocs” could suggest a nocturnal series. A displacement occurs. It refers to different natures. Displacement of meaning, of locations, of chronologies. This time we are feeling as it passes by is also a lasting time. Those works equally refer to the emergent, the fugitive, to a stable and definitive inscription.
René Viau, 22.12.06
- « Poésies en 3D », article by Françoise Belu for Spirale, no 226, 2009, p.6