I had already explored a certain number of yet undiscovered /impressions. The funnel represented the most completed body of work that I had ever done on the subject, melding all that I had learned since I started working with imprint and Impressions.
I did not know too which direction I was going to borrow when the chance intervened, taking the features of a meeting, of a product: SUN PAINT. A blessed union which enabled me to evacuate an old repression and to begin again, to complete it, finally, a goaf left outstanding, for lack of means.
Work which is related to the silhouettes. Catch of prints of body, painted, inside, in white or blue. Colors incredible, mysterious, which I did not explain and which had been essential without I being able to really know why.
It appeared to me, then, more significant, more urgent to regulate my old problems than to continue on the path than I had traced myself. A necessary respite which half-opened unsuspected horizons to me.
Fortuitous meeting,and by the same miraculous, with a product reacting in the light of the sun, whose mysterious alchemy makes it possible to create a simulation, a reconstitution of what was localised on a given paper surface where a model, one day, indeed, was placed.
New process of photosensitive painting.
Progressive, translative and reversible reaction with the ultraviolet rays.
Record the solar prints.
Pigment of neutral, invisible colour with the application, in that uncomparable with a varnish, is coloured in blue, in a progressive way, under the action of the rays of the sun. This blue colour, which appears, in a few seconds, varies constantly according to the intensity of the rays of the sun. Reversing the effect. As soon as the exposure to the rays of the sun ceases, the blue colour gradually disappears, yielding to the initial neutral hue.
Ink Sun Paint is presented in a semi-pasty, transparent and bluish form. Directly usable, without preliminary dilution, but its viscosity can be modified at will by using a thinner. Applicable by serigraphy, with the gun, with the brush, on many supports such as the boardings, the textiles and the plastics.
Sun Paint. Means of preserving the conquest of work.
Not to be permanently confronted with work but to take voluntary action to see it. Only some visible elements induce the interest to discover what is invisible, which is dissimulated with the glance.
With the action of the sun, work appears and thus, for moment equal to the passage of the ray of the sun, the figuration becomes animated before replonger in the invisible one.
The desire to develop this process and to apply it to the silhouettes. Also a desire to apply it to the funnels. The way also of use a history, tell by Pline the Old,that I hold in reserve for an extremely long time, know how the exploit ” The girl of potter of Butadès of Sicyone surround, of a line the shade of face of sound promise in marriage, in authority of departure, shade project on the wall by the light of a candle ”
From this old woman story, was born in me, the desire to capture the shade of promise in marriage party, of represent, plastically, this absence, in truth present, but only visible for the girl of potter.
Silhouette : drawing of profile of a person, whose edge alone is detached from the bottom. Impression of dynamism, of energy which emerges.
Result of a combat. Shock, confrontation of two contrary forces.
Contrasts of the silhouettes.
Contrasts of the colors. White silhouette and painted circumference of colors sharp: reds, greens, blue.
White: symbol of the absence of color, virginity.
Seemingly unequal confrontation but the human being is folded up on itself, contracted in its effort to fight against the medium in which it lives and which presses it de.toutes.parts, oppresses it. Eternal fights of the Artist against the world. To conquer humanity.
Interior force caused by the proper force of its adversary.
Silhouettes, neither winner, nor overcome.
Emergence of a new entity, impalpable, invisible, resulting from an opposition: that of virginity, of a potential power against what is established.
Squirted gilded droplets. Tiny sun salvos from which we draw the life, who illuminate and sublimate the silhouette. Flight as instinctive as the life which is born here from the unification: mould color with a container.
Sign the third dimension of this combat. Illuminant, at the same time, the table and its interpretation.
Silhouette modelled according to contours’ of naked. Need for an adaptation to each one of its characteristics. This is why it is folded up on itself to draw the maximum of strength, strength which will enable him to withstand the pressure of the mould and finally to adopt it.
Symbol of the male element and the element female. Meeting of these two elements is born the life. The first form of life wasn’t it a formidable energy whose power would have created the world?
Symbolic system of the table.
With the time substance and food.
Neither beginning, nor end. Energy which is born from the ” harmonious ” opposition of two forms. Without it, there would be an overcome winner and one.
Restarting without end of the creative work of the life.
Released energy which nourishes the strength of the mould and the silhouette.
Abolished time. Without beginning, nor end, the infinite one joined item zero of original creation.
To conceive the starting point of this energy. To conceive its end.
No response to this double interrogation of man on his destiny, following the direction of its life. Unrestrained desire of knowing.
Search which nourishes work, confers a spiritual dimension to him.
Wisdom of the man resulting from the accumulation of tests, doubts, questions without answers. Plenitude of a work of art which comes on its impalpable side, indefinable, which hangs by strange and unknown links.
Silhouette. Attempt to infiltrate to the maximum in the least fault of the mould of color. Effort which encourages it to leave the framework of the table. Dash which propels it, concentrated on its point of balance, out of the material limits of the wood framework.
Arid conquest which one could not measure the width. Possibility of limiting git, of containing it ad infinitum, of posing a border but not to include/understand it, to take it for oneself, to lock up it in what is clean and accessible for us.
Bursting towards the unknown, as in the life where the imponderable one dominates.
Vain attempt to determine the mystery.
Too clear cut on the edge of the framework, between what can be perceived and what exceeds it and exceeds us at the same time.
The silhouettes already announce a new direction of research, a new approach to painting: to exceed the framework, to deny the constraint of the four wooden rods. Painting, conceived either like an assembly of painting on a fabric but redefined, rehabilitated.
To leave the framework as a teenager runs away from the family framework to realise his/her life and to take refuge there.
The silhouettes keep their support of fabric but transgress it, at the same time, since they do not respect its limits.
Silhouette, at the beginning, virgin of all colors and even of a simple coating.
To choose to seize the contour of a form rather than its material presence.
To fix the human form. To sublimate the matter.
To divert the objects of their usual use, like the César sculptor and his compressions. To propose a vacuum in place of what should be filled by pictorial matter.
To go beyond the matter. To transcend.
But the matter, the coloured mould, succeeds in partly including what is absence of matter, to agree with its opposite. Sacred alliance of matter with the mind, the unforeseen one, the surprise. To mark a shape out of what’s hollow.
To project certain parts of the body outside of its framework.
To guess rather than to see. To imagine what is suggested.
Absence which becomes presence because it becomes a desire
Natural silhouette size.
Silhouette. Primacy of man, of his any creative power, combatting what surrounds it and nourishing itself of him, in a vital dash towards the spiritual.
Fixed myth of creation. From where the primitive character of this representation because it is not necessary of any turning to return the value of this myth.
Sun and impressions
The purpose of sun and impressed the first of the applications of Sun Paint was to invesigate a new territory: that of the Full Sun.
All of the paintings are designed to be seen as much as possible under natural light. But just as the solar star does not agree to be looked opposite, works do not support, generally, an exposure prolonged to the sun because they would be degraded very quickly.
Thus exist an unexploited, even dangerous Place-Territory for Art.
Idea to invest this territory, To borrow it with works which, on the contrary, would need, for simply living, of the full sun and its variations, without any risk of degradation.
Sun Paint allows the occupation of this space.
Prints physical, voluntary, and now disappeared that only the sunlight can, again, to make reappear, reappear in the world, emerging glive behind the apparent vacuum.
Translative prints, captive of the sun, captive of the shade, condemned to a ceaseless Return ticket enters the presence and the absence, between the life and its opposite.
To express the absence which builds the presence.
To track plastically, in what still remains, which is not already any more.
Each table is an invitation to voyage in an unexplored universe of the invisible memory, where all our traces nest, prisoners of the shade.
Specialised, universal prints.
Lost phantoms of all that is now absence to us.
Prints located at item zero, between the two, which go, without interruption, of visible with invisible and conversely.
Translatives prints which appoint time for better controlling it, to capture it.
Time which escapes us unceasingly, carrying with it, in memory banks, the one present old crumbs always in escape.
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