Texte by Marc-André 2 Figueres
I felt that I was going to discover something but I did not know what.
In three days, I created the icon. It was co-established in my spirit at the same time as the work, than I had just completed, declined. Mystery of creation, process strange, magic, which escape to me completely, unreal moments which I never knew to control. With each time, new work ends in the week when the preceding one fails.
Work unconscious, interior, complex, chance or need, urgency!
At the beginning, desire of a head limps about it, introverted.
A head in section, like a scanner.
To make visible not only the invisible one but the unconscious one.
Head, place where all information is channeled, where concentrate the major prints. The body, more mechanical, carrying only physical marks or marks, has less of things to say.
Head, receptacle of physical and invisible prints, impressed life, more loquacious, more expressive for which can read it.
Not to flat paint the portrait on a table. Surface too narrow, too restrictive.
To go beyond the traditional technique of the portrait, this concept of expensive timelessness with Mac Avoy. To take the opposite course.
To show every moment for one and not a moment for all.
To think as a sculptor who would be discovered painter.
Head, volume which contain a too full of idea, of desire, of desire, of anguish, of joy and of pain, of hatred, of bitterness, of love…
Idea of a limp with of zone of full and of vacuum, of shade and of light. A pane on the first surface on a bottom sinks. Between the two, a whole life, a universe. On the first pane, a painted eye. On the bottom, the same painted eye. To the medium, a spring, feature of union, vector of connection, indicate the direction of the reading.
To cant the object first of one limps.
Box which contains, masks, seals and of which I am used for myself to reveal, to reveal, to show. To use the constraints. Limps, conceived either like a framing but like a container. Limp cranial. Pictorial scanner of the brain.
Problem : how to speak about the individual and to draw a portrait which is universal? How to not brush a particular face but all the faces, an image where everyone could be recognized, to which no matter who would be identified easily?
A unique portrait, multiplicity of a shared myth, true image. Discovery of an icon, of a mysterious side, of a man’s mystique.
Icon : artistically, table carried out for biblical representations in the Churches. Linguistically, abstract term which does not have physical reality but a intellectual reality.
An icon never represents somebody.
It is a figure and not a portrait, even if exist distinctive elements. Schematization and coding of the faces so that the figure represented is immediately recognizable. To regard the icon as the representation of an idea, the plastic translation of an abstraction.
Necessity for small sizess. L’icône est, par tradition, toujours petite car une figuration mystique, symbolique, et par conséquent, précieuse et rare, ne peut être volumineuse.
Conception de visage-empreinte, née de l’alliance de deux types de matériau : wood (or lead) and glass, one being used as support with the shade, the other with the light. Separated and connected one to the other by a system of points enchased in the base out of wooden and fixed at the four corners of the wall of glass, thus creating a space of 2,5 cm.
On the support drink, a drawing is outlined, portrait summary, and supplemented by the solid drop shadow since the support glass where additional contours were traced with white painting, for this purpose.
Realization of two series: series of portraits by one or four, two series (wood and wood plus lead) of seven icons of a format of 21×16.
Intervention of the light, which projects on wood, shade of the image drawn on glass.
Glass. Territory impressions.
Wood, lead. territory borrowed.
Shadow. Print phantom.
Mobile print which changes and follows the evolution of the light.
To reinforce the with dimensions spiritual one, to leave the framework to preserve the same image.
Extroverted image, beyond the facade.
Introverted image, projection of this same image.
Plus vraiment de surface délimitée, de regard uniforme. Multiplicity thickness. Liberté de mouvement, translation dans tous les sens. A roundtrip from point zero.
Need to look further into search towards always more abstraction. More heads, only some features, a contour, a mask. Envy, always delayed, given to later, to date still, nonsatisfied.
This desire for working on an abstract icon gave rise to the bottles. Models in series or models single. Filled of water sterilized for the conservation and closed hermetically. At the interior, mobile in the ambient liquid, a support where common information of the mask is registered: eyes, nose, mouth.
Even principle of operation with the play of shade and light. With the variation of the icon that, under the effect of light, the translation of the image compared to the solid drop shadow allows, a movement of translation-rotation is added which gives each time, a different image. But, is born like a certain feeling from faintness in front of this head immersed in formol, mobile head, alive which communicates with outside by three iron ends stuck on the lid. At the end of iron, the double of the eye and that are balanced of the noses, abstractized. False communication, illusion of a link with outside, an attempt of apprehension, comprehension.
Series of seven bottles symbolic systems: seven colors, seven days of the week, seven planets, seven states of the matter, seven degrees of the conscience, seven stages of the evolution, seven lives.
At this stage, I came up myself against the difficulty of a plastic translation of the abstraction, with impossibility of concretizing a concept, of exceeding the words to create the things. Theoretically, I created a myth, that of absence. A single equation, to solve, redraw, without true unknown factors bus too many particular unknown factors.
To translate the absence, to capture the phantoms.