2015 and "Description" translation

Paintings 2015

Décembre

Free Canvases

SF Dec 2015 3,00m x 2,70m

©BD-F

Novembre

Toutes les peintures S.F 2,00m x 1,00m (credit photo ©BD-F)

Free Canvases

Descriptions

It's a wave

A wave of colors

It could possibly be a sound wave, assuming a hypothetical translation of the color into its

A movement to accompany

A slow and continuous flow

A vibration

A beat

Scanned by peaks and troughs

A continuous without beginning or end, all to follow its route overflowed and distended with each passage of colors

Before they line up when the wire resumes

A reminder of the undulating lines on the walls and ceilings of the Paleolithic caves.

A reminder of a seismography or electrocardiogram - writing the heart, the organ (gramma: the letter).

To the reminder of the curves of the female body, the Arabic of her drawing.

A form all to his follow-up and, therefore, to his discovery (his desefouleness).

A split duration in segments that connect over voids and absences

These descriptions, even with the evocations heard, deal only with the colors to their lines, to approach these questions:

What to do with painting?

What are the uses for colours?

The meaning is transverse, it is not fixed on the word or on a transcription as local as ephemeral.

A voice? But without the words.

Breaks are deviations from this outfit

Breaks

Tears

Broken segments taken at the very second, before they deviate from each other, beginning an endless drift

Hurts of ice sheets that collide and overlap before diverging, carried away by currents

I paint the "continus" as I would read a book (and so much the better if the book in question is endless); brilliance (or breakage) is an exception in its course, like the poem which appears as a deviation in the course of language.

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I paint flat (not to mention the fact that I also paint flat) in whites and colors.

I also paint on unprepared supports, they absorb color, the unre painted is closer to the painted (outcrop of the textures and grain of the canvases that unify the surface).

"Words and things circulate between them on a level level like the units of the same discourse, the particles of the same matter. It is not far from an ancient myth: that of the world as a book, of writing traced on the earth... »

R. Barthes (Sollers writer)

It is possible, by substituting "whites and colours" for Roland Barthes' "words and things", to find here an excellent definition of how I treat and consider them; as for "writing drawn from the earth," I will argue that the deaf painting of the earth (as of the world).

Some paintings are not mounted on frames, others are not.

The first, those bearing the "continuing" must be fixed directly on the wall in order to reinforce the effects of platitude and continuity; put on a chassis they would present themselves, coming forward, as extracted from a flow of which I want to mark and preserve consistency.

Moreover, these paintings are generally large in size, which correspond more to the necessary amplitude of the lines.

The tense paintings are the "breaks", events, shards, their singularities make exceptions that are reinforced to the limitation of the painting (which is also an event); the formats here are generally smaller, even if they can expand.

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My paintings do not fall from the sky, they rise and impose themselves at the whim of a game of acceptance and refusal, of revolt and abdication; I give as much as they take me, in a discreet exchange.

I search for and discover painting by doing it. She makes no intentions or transposed narratives.

Each painting is clean-up on all those that preceded them and yet takes them into account as this shaved table is understood as the effect of the tight condensation of all their layers (it's paradoxical).

I take and do not take, I cancel and I keep; painting is the field where the art of contradictions is practised.

Peintures septembre octobre novembre 2015

toutes S.F. 1,46 x 1,14 m (crédit photo ©BD-F)