Any work could be interpreted in two ways: either we seek to understand the historical development or the artist's personal journey through which we read the conditions for developing a work, or we use our own ability to deduce the particular world that has conducted the same work for its realization. Two different but not opposed. While the first focuses on a point of view by which the diachronic events will situate the work, it does not invalidate an examination schedule and complementary. It said in general of a work of art it is the result of a long work where the sudden discovery has played in gestation. Now, say what must, by duty and discipline, the early work of Bernard Plantive aware Supports-Surfaces is one thing, show what led him to use such weapons first to reach this solution, purified is another, as soon as it wishes to retain the exclusive mention of successive events specific to the artist when we believe we must enter the game to work, finally we give, despite the extreme confidentiality that is the unique nature of a work of art, a complete status to it.
We'll see, now and in each chapter, a work born, but she also lives since it has elicited the multiple looks including count one who draws his collection at source references and one acting on the edge of pure sensibility, naive and, what is important here, available.
Returning inspection of these "rectangles" which means that we remain bec before this thing is as much the object of the bill that the obstinacy of the act. What is the value of this work deal with what is expected generally to an artist? What would be the same value against the notion of work? Seek to answer is already gauge the principle of privilege we assume that in every true artist: deepening or depletion in abeyance or restoration, the artist side of things, assessing the resources are all those its disposal than he has in him, we have shown means that we do not have or that we dare not be: it was actually dare design an object like this, assuming full training unique look , encouraged or dismantled in the agreement concluded with a critical articulated, formed in the same manner as the creative audacity (and so few words thrown by Jacques Sauvageot could count), to build self- Similarly, faced with oneself and others already facing the proceeds from this assumption. Privilege that gives the courage and emerges with sharpness when the most prominent personality looks reserved and refractory to engage. Plantive Bernard, who has these traits, is among those who strive to express the most raw, most refined, they continue. And these are, in the performance choice of the simplest realization of what is pursued, namely, to some extent, the concentration of resources they mobilize.
These are precisely the resources that must be defined. What are they? One way to control things, restitution of know-how both material and spiritual justification for the meeting of like-minded artists involved, or the achievement of an understanding that occurs between the artist and ourselves, not the achievement heritage of a legacy but rather the establishment of a new code?
look back these objects we find that nothing really distinguishes the support of the work itself, the frame is wood work as well as casein coating that covers or the wax overflowing. What part occupies Supports-Surfaces in this work? The apparent challenge to the media and the deliberate use of rudimentary techniques of application? Or a negligible suggesting that the lesson has been understood and overcome, and finally it allows the author to propose in the work itself features which ensure its validity?
If Soulages puts all his energy in a single color often, in this case the black is that it seeks what one critic called one day polyluminescence (1 ) . In order to restore the qualities of the pigment used, in order also to remove any interference that would be a barrier between his painting and the spectator, he refused and gestural expression is successful, it could be said in a technically mandatory, this nudity . Desire to erase his doubts, but will also, says Clement Rosset, "the work of removing the temporality : therefore eliminate everything that bears the mark of time, as precisely the gesture which suggestion about the web is sufficient to evoke the feeling by the time it involves the term so short it is, its fulfillment " (2) .
Yves Klein, he reveals to the eye than absolutist research on color resulted, he said, to blue (the Klein blue). A choice conditioned by a universal even where the relief is subject to the same hue, a kind of annexation monochromatic (3) .
Already, from reading the respective missions that Soulages and Klein continued, we perceive the fundamental difference of aim. The absolute count is the first own refusal to the Lyrical Abstraction now account explicitly the fact that for the second, a "new perceptual approach of reality." You can multiply the examples. But we can now say that simplicity is both a trial and a state.
Plantive For Bernard, it is important to see that this way of using the same elementary, touch something you can not approach otherwise will made under the species of wood tables, has its roots in a world that Not the Soulages, nor that of Klein, nor of those who pursued the same goals: Reinhardt, Ryman, Malevich, or Federle Barre. What counts for Plantive Bernard - and the reasons are as valid as those of his colleagues - is not that part of a work of installation and use of space to achieve this table is that painting, in its principles the deepest and most basic (a matter on a stand), but also sculpture, architecture, all things known, celebrated, performed guard the news their principles: I handled the matter, I play with the tides, I use the resources of the earth Camaret, earth clay, stone, wood, my personality delivered me the secrets of the concentration of this manipulation and so I rediscovered line and color of the painting, I rediscover area and volume of the sculpture, I rediscovered order, arrangement, system of measurement, eurythmy, decor and distribution architecture (4) . Freedom won, the rediscovery of who speaks to us rediscover constant power, not of art but one that the art itself gives us.
Notes:
1 Olivier Cena Telerama No. 2762, December 18, 2002, p. 60.
2 Clement Rosset, "The object pictorial stones Soulages matter in art, Tributes , Nantes, Editions Cecofop-The Giver, 1992 31.
3 "When the paint wants to start anew, remind Gilles Deleuze and Felix Guattari, constructing the percept as a minimum before the void, or the approximate up the concept, it proceeds by monochrome released from any house or any flesh. This is particularly the blue that takes care of the infinite, and that makes a percept "cosmic awareness", or what is more conceptual in nature, or more "propositional", the color in the absence of man, the man passed through the color, but if the blue (or black or white) is perfectly identical in the table, or table to another, the painter who turns blue - "Yves, the Monochrome" - following a pure affect that tilts the universe in space, and does not leave nothing to make the painter par excellence. Gilles Deleuze, Felix Guattari, What is philosophy? Paris, Editions de Minuit, pp. 171-172.
4 Vitruvius, De architectura , Book I, chap. 2, Paris, Klincksieck, 1995.
© Fields of Art
We'll see, now and in each chapter, a work born, but she also lives since it has elicited the multiple looks including count one who draws his collection at source references and one acting on the edge of pure sensibility, naive and, what is important here, available.
Returning inspection of these "rectangles" which means that we remain bec before this thing is as much the object of the bill that the obstinacy of the act. What is the value of this work deal with what is expected generally to an artist? What would be the same value against the notion of work? Seek to answer is already gauge the principle of privilege we assume that in every true artist: deepening or depletion in abeyance or restoration, the artist side of things, assessing the resources are all those its disposal than he has in him, we have shown means that we do not have or that we dare not be: it was actually dare design an object like this, assuming full training unique look , encouraged or dismantled in the agreement concluded with a critical articulated, formed in the same manner as the creative audacity (and so few words thrown by Jacques Sauvageot could count), to build self- Similarly, faced with oneself and others already facing the proceeds from this assumption. Privilege that gives the courage and emerges with sharpness when the most prominent personality looks reserved and refractory to engage. Plantive Bernard, who has these traits, is among those who strive to express the most raw, most refined, they continue. And these are, in the performance choice of the simplest realization of what is pursued, namely, to some extent, the concentration of resources they mobilize.
These are precisely the resources that must be defined. What are they? One way to control things, restitution of know-how both material and spiritual justification for the meeting of like-minded artists involved, or the achievement of an understanding that occurs between the artist and ourselves, not the achievement heritage of a legacy but rather the establishment of a new code?
look back these objects we find that nothing really distinguishes the support of the work itself, the frame is wood work as well as casein coating that covers or the wax overflowing. What part occupies Supports-Surfaces in this work? The apparent challenge to the media and the deliberate use of rudimentary techniques of application? Or a negligible suggesting that the lesson has been understood and overcome, and finally it allows the author to propose in the work itself features which ensure its validity?
If Soulages puts all his energy in a single color often, in this case the black is that it seeks what one critic called one day polyluminescence (1 ) . In order to restore the qualities of the pigment used, in order also to remove any interference that would be a barrier between his painting and the spectator, he refused and gestural expression is successful, it could be said in a technically mandatory, this nudity . Desire to erase his doubts, but will also, says Clement Rosset, "the work of removing the temporality : therefore eliminate everything that bears the mark of time, as precisely the gesture which suggestion about the web is sufficient to evoke the feeling by the time it involves the term so short it is, its fulfillment " (2) .
Yves Klein, he reveals to the eye than absolutist research on color resulted, he said, to blue (the Klein blue). A choice conditioned by a universal even where the relief is subject to the same hue, a kind of annexation monochromatic (3) .
Already, from reading the respective missions that Soulages and Klein continued, we perceive the fundamental difference of aim. The absolute count is the first own refusal to the Lyrical Abstraction now account explicitly the fact that for the second, a "new perceptual approach of reality." You can multiply the examples. But we can now say that simplicity is both a trial and a state.
Plantive For Bernard, it is important to see that this way of using the same elementary, touch something you can not approach otherwise will made under the species of wood tables, has its roots in a world that Not the Soulages, nor that of Klein, nor of those who pursued the same goals: Reinhardt, Ryman, Malevich, or Federle Barre. What counts for Plantive Bernard - and the reasons are as valid as those of his colleagues - is not that part of a work of installation and use of space to achieve this table is that painting, in its principles the deepest and most basic (a matter on a stand), but also sculpture, architecture, all things known, celebrated, performed guard the news their principles: I handled the matter, I play with the tides, I use the resources of the earth Camaret, earth clay, stone, wood, my personality delivered me the secrets of the concentration of this manipulation and so I rediscovered line and color of the painting, I rediscover area and volume of the sculpture, I rediscovered order, arrangement, system of measurement, eurythmy, decor and distribution architecture (4) . Freedom won, the rediscovery of who speaks to us rediscover constant power, not of art but one that the art itself gives us.
Notes:
1 Olivier Cena Telerama No. 2762, December 18, 2002, p. 60.
2 Clement Rosset, "The object pictorial stones Soulages matter in art, Tributes , Nantes, Editions Cecofop-The Giver, 1992 31.
3 "When the paint wants to start anew, remind Gilles Deleuze and Felix Guattari, constructing the percept as a minimum before the void, or the approximate up the concept, it proceeds by monochrome released from any house or any flesh. This is particularly the blue that takes care of the infinite, and that makes a percept "cosmic awareness", or what is more conceptual in nature, or more "propositional", the color in the absence of man, the man passed through the color, but if the blue (or black or white) is perfectly identical in the table, or table to another, the painter who turns blue - "Yves, the Monochrome" - following a pure affect that tilts the universe in space, and does not leave nothing to make the painter par excellence. Gilles Deleuze, Felix Guattari, What is philosophy? Paris, Editions de Minuit, pp. 171-172.
4 Vitruvius, De architectura , Book I, chap. 2, Paris, Klincksieck, 1995.
© Fields of Art
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