4 PILLARS OF THE SKY
Opening night Saturday November 16th 2019 at 7 pm. The Museum will be open freely to the public all the weekend of the 16 & 17.
Curator of the exhibition: Mr. Nicolas Surlapierre, Museum director
Tel : + 33 (0)3 81 87 80 67 | email@example.com | Exhibition page | Press contact: Anne-Lise Coudert | firstname.lastname@example.org | + 33 (0)3 81 87 80 47
In the heart of the historic city, the Besançon Museum of Fine Arts and Archaeology has a long and surprising history. It is the oldest French public collection, since its origin dates back to 1694, a century before the creation of museums during the French Revolution (Le Louvre opened in 1793). This mural installation by Jean-Pierre Sergent is presented in parallel with the major exhibition of national interest: François "Boucher's Dream China".
Seventy-two square unit size Plexiglas paintings, measuring one metre five by one metre five, chosen from the series of Entropic Suites created between 2010 and 2015, are installed on eight panels facing the four corners of the museum's two main staircases. This monumental installation of eighty square metres in size, is to this day the largest ever made by the French-New York painter.
- NB: View of a New York project large walls installations dating from 1996.
THE FOUR PILLARS OF HEAVEN
These vividly coloured, encompassing and captivating works are presented here to show us and testify to the diversity of human worlds and cultures. Acting as ascending and lifting pillars, surpassing the somewhat austere architecture of the place, while developing and reintegrating a strong vital energy, a karma from buried, forgotten and sensitive worlds.
Initiator and initiator art, ritual of passage for the spectator, undoubtedly surprised to see so much diversity in a contemporary world, today very sad, neurotic, very dead and very grey! Because these works speak of my travels and encounters: from Egypt to New York, via Central America and my immoderate love of colour. In a world that destroys itself, more time to waste making art for art, my paintings bear witness to life itself, without detours, without make-up and without burdens. That's how life is! It is a healing message to be sent to the world and not a capsule containing messages for possible aliens!
I want my paintings and art to be: a wall art (even armor if you will! I don't care!), an art-architecture (like Indian tipis), an animal-art (like Lascaux), an art-tree, a river-art, an empty-art (like for Zen Buddhist monks), a nature-art, a sex-art, an art-dead (like Egyptian tombs), an art-pleasure (Dionysian), an art-presence, an art-soul, an art-joie (like in Jean Giono's books), an art-body (like in sexuality) etc.
It is no longer the being, the object, the subject or the painted rituals that are present, but the painting itself, transcending the material to become autonomous sacred being: in itself and by itself!
This myriadic and multifaceted art unfolds in my dreams, thoughts and realities as a nomadic and acrobatic art, an immense undefined puzzle to be rebuilt with each new exhibition. Settling, presenting and diffusing itself as a sumptuous mural art, non-dissociating, therefore connecting... In order to reintegrate myself and us into a generous, matrix and cosmic world. The world of the first original dream, creator and orgiastic of the dawn of time. And above all to regenerate and definitively annihilate death with its procession of unbearable absences induced.
Jean-Pierre sergent, Besançon September 5th 2019
TEXTS FOR THE CATALOGUE
BY THIERRY SAVATIER
What is an artist? The question is a challenging one and UNESCO's definition, too vague to be exploited, betrays the difficulty of the exercise. However, let us try to advance, in full awareness of lexicographical imperfection, that an artist is the junction of talent, an aesthetic (often called upon to evolve with time), a work of every moment and a real intellectual approach that leads him or her as much to think about his or her art as to think about the world. Jean-Pierre Sergent clearly fits this profile. One only has to look at his works, on paper or Plexiglas, to become aware of his talent and his uncompromising aesthetics which allows us to never confuse his creations with those of his contemporaries. One only has to meet him to understand the importance that work occupies in his life, even when he is outside his studio. Finally, it is enough to exchange with him and read his texts to discover an original, solid, structured intellectual approach, which integrates his work into the world - a world much larger than the one that directly surrounds him since it extends, horizontally, over the five continents and, vertically, that is to say, in a historical perspective, to the creative dawn of humanity. Its curiosity about the Other, this "Other" taken as the archetype of otherness (that which is outside him and his culture of origin), is immense.
The exhibition "The Four Pillars of the Sky", hosted by the Musée des Beaux-Arts et d'Archéologie de Besançon, proposes a collection of 72 silkscreen prints on Plexiglas chosen by Jean-Pierre Sergent from a series produced from 2010 to 2015 under the generic title of "Entropic Suite". Should we see in "Suite entropique" a play on words based on homophony, which would summon both the epithet "anthropic" ("qualifies any element provoked directly or indirectly by human action", says the glossary of the public site "Géorisques") and "entropic" which evokes the idea of disorder of a system, of chaos? One cannot help but think so because the artist, as an observer of his environment, has long since become aware of the evolution of what is called, even if the term still raises polemics, the anthropocene, an evolution which, without yielding in the least to millenarianist delusions, highlights the emergence of imbalances whose multiplication and amplitude could lead to chaos.
As for the title of the exhibition, it heralds the vertical relationship that we can maintain with a higher entity - whether we call it Cosmos, God or Great Architect is of little importance - as part of a quest for spirituality. But, at the same time, it is too close to the "Four Pillars of Wisdom" dear to Confucius and the Chinese cosmogony defining the harmony of the universe not to refer to them, even indirectly or unconsciously.
These 72 panels with identical dimensions (1.05 x 1.05 m) occupy the four corners of the museum's double central staircase, forming a monumental 80 m2 installation. We discover them as we climb the steps. This ascending movement is the first step in what could be called an exploration - dare we add: an initiation, because approaching these works is a real experience, both sensory and spiritual. The effect is reinforced by the fact that these panels are veneered with the austere stone of the walls, without any framing to materialize reassuring boundaries. This contrast between the coloured work and the natural stone is reminiscent of the exhibition of Picasso's paintings that was hosted in Avignon, at the Palais des Papes, from May to September 1970. Many critics, baffled by the unbridled and sunny eroticism of a vigorous 89-year-old artist, had described his paintings as "obscene smears". But when he came to check the hanging before it opened to the public, the painter had all the frames removed, because he wanted to confront his paintings only with the raw walls. This opposition of materials was probably not unrelated to the frightened reaction of the specialized journalists, whose profoundly erroneous nature we now measure today...
Before tackling "The Four Pillars of Heaven", in order to tame our gaze, we will take advantage of getting rid of the prejudices linked to a Western culture dominated by the double influence - one reinforcing the other - of Platonic philosophy and Judeo-Christianity. For the universe proposed by Jean-Pierre Sergent frees itself from the binary appreciations that are so familiar to us and on which our judgements are based, from the native and the exotic, the archaic and the modern, good and evil, truth and heresy, white and black, light and darkness.
We will therefore have to abdicate our proud, even arrogant temptation to "think we know", to classify, to rely on our primary certainties, or, even worse, on our beliefs and their procession of irrationalities. The work needs to be approached with new eyes.
If, however, to help us interpret these Plexiglas panels, we were to call upon a European intellectual source, perhaps we would refer to the Sophists, unjustly decried and despised, to whom we still owe a considerable debt, since they invented rhetoric, promoted doubt as a system of thought and introduced relativism. This principle, according to which there is no "one truth" because it is contingent, subjective, and changes according to the place, time or environment in which we grow up, leaves us complete freedom of appreciation, reinforced by the most daring sophists for whom truth does not exist and who only coexist and confront points of view. From then on, the prospects open to us become infinite.
This is exactly what we need here; let us add that in this, the Sophists came closer to their almost contemporary, Confucius, for whom the universe obeyed a harmony that had to be preserved. Now, according to the Chinese philosopher, because this universe was in perpetual motion, all of its components had to move in order for the harmony to remain. From this observation stems a consequence that reflects the world view in part of Asia: there is no such thing as good or evil defined for eternity as many in the West believe; what is considered good today may become evil tomorrow, and the reverse is just as likely.
This way of thinking, far removed from our system of references, will undoubtedly help us to better understand the works of Jean-Pierre Sergent. For, in his creative universe, these questions are meaningless. A great collector of ethnographic testimonies, he draws his pictorial references from the roots of life, coming from the depths of the ages, then scattered all over the globe in cultures where the relationship with Nature was based on a quest for harmony, not on a relationship of domination. This is why borrowings from Judeo-Christianity are absent from his works, since - let us re-read Genesis I, 26-31 - the place assigned to the human being in the Book rests precisely on the submission of Nature. On the other hand, a whole animal, vegetable, mineral and mythological world emerges on the Plexiglas, where the place of Man (in the generic sense of the term) is not, of course, forgotten, without however making him the epicentre of the system. The figures proposed to us belong to the pre-Columbian, Egyptian, Greek, Indian, Amerindian and Japanese iconographic registers. The artist has explored these cultures, most of which are pantheistic or animist, even shamanic; he continues to rub shoulders with them. One can sense that, like Antonin Artaud visiting the Tarahumaras of Mexico, his aim is to seek "a new idea of man". The work is as ambitious as the ambition.
Nature, in Jean-Pierre Sergent's paintings, is neither fantasized nor naively idealized. The artist, for a long time in close communion with it, knows that it can be as ferocious or indifferent as it is generous, which explains why the cultural sources to which he refers accord it the greatest respect. These are the mother earth, the primordial source of energy that goes beyond the framework of our simple lives, but are indispensable to their fulfilment.
In front of the perfectly square panels, our gaze is, at first glance, caught by the omnipresence of colours, frank, vivid, contrasted, which do not show any tepidity but on the contrary suggest a rare impression of strength. Even the pink here loses its all too often "cute" character, as Théophile Gautier used to say.
We are also struck by the total appropriation of the space that the artist reserves for himself; the graphics occupy the entire surface of the panels, invading it, constantly soliciting our eye, leaving us no white, no empty space on which we could rest for a moment. The tension is permanent. Moreover, the repetition of certain motifs (lotus or Japanese cherry blossoms, birds, geometric shapes) opens the door to a quasi-hypnotic perception; it seems to us the pictorial translation of the infinite dance of the whirling dervishes or mantras repeated to exhaustion by Buddhists and Hindus, whose aim is to lead those who devote themselves to it to a parallel or higher dimension which leads, for some privileged to trance, for many others to a form of spirituality.
These panels offer us an optical experience exactly opposite to the one we could live, for example, in front of Claude Monet's Water Lilies kept in the Orangery Museum. Placed at a very short distance from the Nymphéas, we perceive an abstract painting composed of touches of colour and it is only by moving away slowly that, gradually, the figurative subject appears. Here, seen from afar, the image seems to be an abstraction based on pictorial density and it is by getting closer that we discover very concrete forms. We still need to work on our eyes to understand what the different layers superimposed by the artist conceal in their infinite variety.
Jean-Pierre Sergent works his compositions in successive layers - his technique, silk-screen printing, allows him all the freedom in this respect. It then becomes clear that we cannot rely on appearances, that, as in these cities of the Levant, which archaeologists have shown us had been built on top of each other over the centuries, one form always conceals (and, finally, reveals) one or more others in an unexpected profusion. This exploration is not limited to surprises, it is a real initiation, a journey intended to bring us closer to the painter as a smuggler, to get to know the mysteries of his creation, to share parts of his universe.
The confrontation, the telescoping - or rather the dialogue - of symbolic elements from different cultures, carried out at times very distant from each other, surprises our eyes, unaccustomed to such diversity. We must make an effort to forge links whose logic does not impose itself spontaneously on us, but which nevertheless lead to real coherence.
The "forest of symbols" (the word is from Baudelaire evoking Nature, which, however, this urban dandy did not like) in which we penetrate translates by its density all the preoccupations of Man since he became aware of his existence and wondered about the place he occupied in the universe: fertility, beauty, pleasure, life cycles, suffering, fear of the unknown, finitude (therefore death), necessity, temptation or the illusion of the sky. Without forgetting all the rituals attached to it and acting as rites of passage, which are transmitted from generation to generation. The profane and the sacred, here, are neighbours; they complement rather than oppose each other.
It is very difficult for those who have not freed themselves from their usual pattern, from their arbitrary scales of values, to accept that the profane and the sacred cohabit within these panels outside the classical hierarchical relationship, the first being supposedly vile and the second noble. That sacred symbols are superimposed on scenes of powerful eroticism enhanced by raw texts (art escapes the moralizing notion of pornography) from Japanese Hantai, is shocking to the conservative spirit, no doubt, but also to the supposedly progressive spirit that Philippe Muray called homo festivus, open to any entertainment on offer, officially free, but in reality very much framed by a quickly prudish good sense.
However, by organizing this cohabitation, Jean-Pierre Sergent is only getting closer to the fertility rituals omnipresent in the first cultures, but also in Hinduism, through the fertility goddess Lajja Gauri who, with her thighs spread apart, exposes a widely open sex, and ancient Greece with the emblematic figure of Baubo - two symbolic representations of the Feminine that furiously recall Gustave Courbet's The Origin of the World.
Let there be no mistake, in Jean-Pierre Sergent's work, eroticization is not to be confused with libertine; it calls upon vital energies that are situated on a plane far removed from the body's zero degree, which would be obscenity. Sexuality and spirituality have always been linked in ancient societies, like the body to the cosmos, most often to the rhythm of the seasons, until the current of thought oriented towards the ascetic ideal (Abrahamic religions, Platonicism) opposed them, reducing spirituality to the respect of a few dogmas and taboos. The "morality" denounced by Nietzsche, that doloristic morality outside of ethics, which Paul Valéry defined as the obligation to do what is unpleasant and the prohibition to do what is pleasant, has broken this link between sexuality and spirituality, which the artist is working brilliantly to reweave. Titan's work is much more than lacemaking! But he is here in his rightful role, because art escapes the common law. A promoter of freedom of creation and the empowerment of art, Baudelaire, while preparing his defence at the trial of the Flowers of Evil, had written to his lawyer in a formula that has remained famous: "There are several morals. There is the positive and practical morality to which everyone must obey. But there is the morality of the arts. This is quite different, and, since the beginning of the world, the arts have proved it. There are also many kinds of freedoms. There is freedom for the genius and there is a very restricted freedom for the polish. "When they create, artists are not rascals....
By drawing his sources from these little-known or forgotten cultures, Jean-Pierre Sergent makes them known and revives them. "As long as we talk about them, they don't disappear," he writes. This reminds us of one of the narrative springs that Jean Ray had introduced in his novel Malpertuis: the gods of Olympus are called upon to fade into transparency as soon as we no longer speak of them... The work of the painter, by its metaphysical dimension, invites to contemplation, to meditation. But it also offers the viewer an unexpected form of fusion with itself, inasmuch as the Plexiglas support allows the spectator to see his reflection included in the graphic meanders, as if the ultimate stratum of the composition depended on him.
1 "An artist is defined as any person who creates or participates through his or her interpretation in the creation or re-creation of works of art, who considers his or her artistic creation to be an essential part of his or her life, who thereby contributes to the development of art and culture, who is recognized or seeks to be recognized as an artist, whether or not he or she is bound by any kind of working relationship or association. "(Recommendation concerning the Status of the Artist, 27 October 1980).
2 "God says: 'Let us make man in our image, according to our likeness. Let him be lord over the fish of the sea, and over the birds of the air, and over the cattle, and over every wild beast, and over every creeping thing that creeps upon the earth." God created man in his own image, in the image of God he created him, he created them male and female. God blessed them and said, "Be fruitful and multiply, and fill the earth and subdue it. Be rulers of the fish of the sea, and of the birds of the air, and of every living creature that creeps upon the earth." And God said, "I give you every plant that bears its seed upon the face of the whole earth, and every tree whose fruit bears its seed, this is your food. To the wild beasts, and to the birds of the air, and to everything that moves to and fro on the earth and has the breath of life, I give every green herb for food." And so it was. And God saw all that he had made, and it was very good. And there was evening and there was morning, and the sixth day... "Genesis I, 26-31.
BY MARIE-MADELEINE VARET: THE FOUR PILLARS OF HEAVEN!
Recently renovated, the MBAA of Besançon, one of the oldest public museums in France, hosts the eponymous installation by the artist Jean-Pierre Sergent.
Spreading its wings at the four corners of the monumental staircase, this "world-work", in its very excessiveness, justifies the ambition of its title: an anthem to Joy, a celebration of vitality, an interplay of cosmic forces in which all spatio-temporal constraints dissolve... a work that would bring together all the qualities of excess (quantity, length, detours and expansion) and thus manage to give the world a fictional identity. Unheard-of power of material density... An abundance of forms. Compactness, intensity, mass, weight, profusion are precisely the distinguishing marks of JPS' "world-work". This is the exhilarating spectacle of a first odyssey, that of an artist who is committed to new beginnings.
An anthropologist of human consciousness, JPS tirelessly pursues his quest for the living through explorations of the transversality between cultures and eras. As a modern-day shaman questioning the difficult balance between order and disorder that governs the world, the artist is also a witness and a warning about the state of our societies. The vast majority of the works presented at the MBAA are taken from the Entropic Suites series, a recurring theme at JPS, for whom the idea of entropy or growing disorder runs through the entire body of work. In the field of art, disorder (or entropy) does not reduce the amount of information transmitted, but on the contrary - due to its unpredictable nature - increases it.
Chaos and Cosmos: Genesis! The first entity to extricate itself from Chaos and to constitute itself outside of it brings precisely firmness, stability and fixity: it is Gaia, the Earth. Immediately after it emerges from Chaos Eros, Love. This primordial Eros embodies a cosmogonic force of creation, engendering and renewal. The work of JPS celebrates this epiphany.
Strange and mysterious profession than that of a painter. War rumbles at the gates of Europe, glaciers melt, the commodification of the world and the reign of technology extend their grip. The studio, the last enclave still escaping the economic order. In this century of zapping, excesses and madness, they persist in wanting to "balance shapes and colours until they sound right. " (E.H. Gombrich). Is it possible to be modern today by painting? Provided that the genesis of the painting takes place internally. That it is inspired. The visual arts exist above all to communicate the unspeakable. To transmit us, to reveal to us what words cannot express. This is what the work of JPS is eminently testifying to.
Polymorphic, polygraphic, polysemic, polyphonic... the work, sensory as much as sensual, is saturated by visual and sound ingredients, mythical and metaphorical spaces that multiply its resonance and endow it with a polyphony that is resistant to any linear reading: In search of the secret of the creative act, it takes the most difficult routes of access to myths, sacred stories, cosmogony ... alongside secular, erotic and pornographic themes ... with equal brilliance. The power of evocation, the capacity of revelation, the inner energy of contemplation is thus restored. How can we not evoke here a major artistic event in the career of JPS? The creation of the scenographic environment for La Traviata, an opera by Giuseppe Verdi, directed by Didier Brunel, director of the Besançon Opera Theatre. This installation of Mayan Diary, a monumental mural installation of 18 paintings on 3.15 x 6.30 m Plexiglas, created in New York between 2001 and 2003, is a work of recovery, superimposition and accumulation of images. "The iconography of these fusion paintings is largely inspired by the pre-Columbian Aztec and Mayan cultures, shamanism, life cycles and cosmic momentum. The pictorial language presents itself as an iconographic meeting place of dreamlike, transtemporal and transcultural elements of archetypes drawn from the collective unconscious and imagination ... Creating a dynamic, a visual, emotional and aesthetic shock between two art forms. Confronting them, provoking the encounter between two languages from different eras and noting their contemporaneity... ».
In Jean-Pierre Sergent's work, the director confides that he has "rediscovered all the elements that make up his view of La Traviata: in his wall installation, it is essential that the spectator "enters" the work through the play of reflection on the Plexiglas, just as he enters history and as the music enters him. The superimposition, fragmentation, juxtaposition, erotic image confronted with the roots of tribal societies evoke the microcosm of a volatile jet-set that encloses La Traviata. Transgressing the rules (she goes from libertine to love) she excludes herself from her tribe. »
The Four Pillars of Heaven, such as Brancusi's The Endless Column or Lorenzo Ghiberti's The Gateway to Paradise, belong to a higher, transcendental order, where the limits of possible experience are exceeded.
"Enter and meditate, you will be drawn into the divine light in a flash. The door of transformation is then open to you, it is up to you to know how to seize it. »*
* The Great Book of Ayurveda, Christine Chandrika Blin
BY FLORENCE ANDOKA: "ONE WAY OR ANOTHER"
And what is a sky that has no pillar? Jean-Pierre Sergent's work is hermetic in its syncretic nature, so, of course, we could spend hours wondering what is the origin of this silhouette, of this motif, of the links that may or may not exist between the two, the three, the four.
The eye travels from Zimbabwe to Greece, from the Hindus to the Mayas, time and space become concentric circles that telescope, overlap, collide, but no one loses or wins, everything is in everything, with the Bindû point, the centre of the world, in the middle. It is a dance of the gaze that is lost, of the memory that goes astray and necessarily comes up against what it ignores. And the hub makes the movement fast. Jean-Pierre Sergent's work is circular like the time he describes, archeological because it works in layers. It shines, it turns, the work is there. But what about its power to act on the viewer, this contemporary Western eye, born in times of religious, political and aesthetic deconstruction? Of course, not all looks are the same, but still, if the work is a threshold, an inside-out, an almost abstract coloured surface as much as a collection of symbols referring to another reality, what about the path to take? How do you go through the door, up the stairs without the path leading nowhere? There are, no doubt, several ways to access the work for the layman. Syncretism implies an absence of hierarchy between the symbols although all these elements, retained by the artist, are oriented in a common direction; saturation is a spring of the work, a saturated work, in a saturated society, in flow, in images, in knowledge all, always, at hand, without rarely taking the time to digest ; It scrolls, it's superimposed, all these images that assail us, and even though Jean-Pierre Sergent's images are images of the sacred, they are images all the same and images that form an imagery, and that's also our Western contemporaneity.
There is Warhol in Sergent's work, starting with the use for several decades now, from New York, of serigraphy. The year 2000 is twenty years old and we are still waiting for that famous apocalyptic bug that was promised to us, unless the destructive saturation occurs only in our restless, annoyed brains, persecuted by the batch of information that is constantly accelerating, from Guy Debord to Hartmut Rosa. We go round in circles in the night and are devoured by fire. Would Sergent's colossal work be a vast cry for the archaic, the pre-industrial, the time for oneself which alone allows one to know oneself and to become aware of one's place in the whole of substance, infinite, extended? And the divinity holding its breath also holds time. In Sergent's long fresco, there is of course the shimmer of colour, the rhythm, the brilliance of the paint under the Plexiglas, the feeling that one form generates another, by difference, by repetition, by contagion; it's sure, it moves forward, we can't help it, we are embarked on what is born and dies, scrolls and is transformed. It is a cycle, an egg in which everything moves. It breathes. But more than that, it shits, it fucks, since there is what we see and what we don't see, which is nevertheless a fundamental leaven of the work, the white lotuses of fervour, Durga's mortal anger, but even more, the most common pornography, popular and Japanese, globalized and not at all scholarly, are the images of copulation taken from the Hentai and the porn magazines sold on newsstands. Neither Mayan, nor Aztec, nor Hindu, nor Mexican, nor Tibetan, sexuality and its representation speaks to everyone and to everyone, especially to the post-modern liberal eye.
I've never been fucked so deep in my entire life! Eat my pussy and burn my soul! It's not love, it's not the West, it's everywhere and it's all the time. It's in everything. And that too, it repeats itself, like a frenetic pulse, a pattern like any other, life regenerating itself, cosmic energies colliding, all these pine-pines with holes and these cries that we push, this joyful and violent trance within the reach of poodles. There are erotic trance, orgasmic trance, shamanic trance, meditative trance, mediumistic trance, ecsomatic trance, sleepwalking trance, poetic trance, creative trance. The whole thing is that the state of consciousness is modified, that we touch a world behind the world, that the subject disintegrates, that it takes off. If in the Tibetan Book of the Dead, the spirit chooses the vulva in which it wishes to come back to life, then Jean-Pierre Sergent, is perhaps not so far from Gustave Courbet.
SPEECH FOR THE OPENING NIGHT (16.11.2019)
Opening in the presence of Mr Nicolas Surlapierre, Mr Nicolas Bousquet, Mrs Claudie Floutier & Mrs Barbara Dasnoy. Special thanks to the museum's technical team & the City of Besançon.
Thank you very much Nicolas, good evening everyone! It's really a pleasure to see you all here together for this beautiful exhibition! I've been living here in Besançon for a very long time (15 years) and I've known two curators before and I've always tried to make this museum open to contemporary art. And finally, it is opening there, thanks to you Nicolas! I think this is good news for all the artists here tonight. Because I find, being a New Yorker and a Franc-Comtois; I find that France, in general, is not really open enough to contemporary art. And even if there are places dedicated to it, they are not very crowded. I'm going to say a few words about my mural installation: it's a work that comes from the series of Entropic Suites, which I've been completing in my studio in Besançon during five years (2010-2015). I chose seventy-two works from a stock of nearly two hundred paintings. And I want to talk here, in this museum, about the Four Pillars of Heaven, that is to say that in any "primitive" society (or first people), there is always a place called the axis mundi, where people can communicate with what are called gods or spirits, and in fact, it is a little bit this will there that I have here: to communicate perhaps with the dear departed, or with the art that I like and that disappears every day! Because we talk a lot and often about the disappearance of biodiversity! But so many human cultures are also vanishing in front of us today, that it often giving me nightmares… Really! And having had the chance to travel to Mexico and Guatemala and having been married to my friend Olga (who is of Colombian origin) and in New York having had the chance to meet so many friends from different cultures, I want to pay homage to them a little bit here tonight. And also to all those beautiful cultures that use colors the way I use them now. It's a bit of a theft or an appropriation, but it's a bit thanks to my friend Claudie, who also exhibits here and who was my colour teacher at the Besançon School of Fine Arts, that I was able to grasp the beauty of colour. Of course in my work, I also talk about energies, I discussed it earlier with friends, I think that beauty is an energy! And the Navajo Indians say it in their Song of the Night (In beauty, may I walk...). There you go, I wanted to thank of course all the museum teams, all the technicians in particular, who worked almost three weeks to a month to get these beautiful paintings installed in this museum. And I have some thoughts of course for my family, who unfortunately couldn't come tonight, and for my dad and my grandfather who left (for the big journey). I also see my friend Pierre-Louis Brechat, who made me do my first silkscreen print and who always says to me with pride: It was me who made you do your first silkscreen print and it's true! Even if I didn't stay very long at the School of Fine Arts, I nevertheless enjoyed this moment and I am very happy, proud and honored to be with you here tonight. Thank you all again and have a good evening.
Article by Thomas Comte for La presse Bisontine, December 2019
Article de Catherine Chaillet pour l'Est Républicain, Besançon le 4 novembre 2019
THE EIGHT MURALS INSTALLATIONS ON THE FOUR CORNERS
VISUALS OF THE EXHIBITED ART WOKS: THE EIGHT WALLS
VISUALS OF THE EXHIBITED ART WOKS: THE SEVENTY-TWO PAINTINGS
PHOTOS OF THE INSTALLATION OF WOOD PANELS, THE ART WORKS (11, 12, 26 & 27 September 2019) & THE OPENING NOVEMBER 16
With the help of the museum technicians, Jean-François Delamain, most photos are by by Christine Chatelet & Lionel Georges.Opening night by Jean-François Delamain