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Brushes vs. scissors /Pinceaux vs. ciseaux
« 1946Tête-bêche - Head over tail »

Brushes vs. scissors /Pinceaux vs. ciseaux

30.10.16

  09:58:00 am, by   , 685 words  
Categories: Art, Collage, Painting, Photography

Brushes vs. scissors /Pinceaux vs. ciseaux


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Pinceaux vs. ciseaux

Il y a 16 années, au tournant du millénaire, je me suis posé la question du sens et de la valeur de ma création. Il m’est apparu alors que c’est dans la maison collage que je me sentais le plus à l’aise. Il faut dire que je collais depuis 1967 déjà, à l’issue d’une crise d’inspiration qui avait duré pendant plus d’une année. Ce n’est point la question formelle qui me paralysait, mais bien celle du sens de ce que je créais. Je regardais le monde évoluer vite et ma peinture stagner. Elle me paraissait insignifiante. Il faut dire que les années passées à l’Ecole des Beaux-Arts avaient endormi le véritable créateur en moi. J’ai toujours été un rêveur, et dès mes débuts d’autodidacte, j’ai essayé de créer des images qui venaient spontanément. L’école a mis un terme à ce processus au profit d’un apprentissage purement formel. Je pense pouvoir dire que cela m’a déconnecté de mon monde intérieur. Ne pouvant plus créer comme par ex. un créateur d’art brut, j’ai été « sauvé » par la manipulation d’images imprimées, dont le lien avec le monde ou l’actualité était évident. Cela satisfaisait à la fois le besoin d’être connecté au monde « réel » et celui de pouvoir rêver en manipulant les images comme dans un rêve éveillé. Le collage - ou plutôt photomontage -  m’a reconnecté à mon monde intérieur et est devenu dès lors mon unique source d’inspiration. Toutes les toiles faites depuis 1967 ont été faites d’après collage. Mais on me disait que pour pouvoir exposer et vendre, je DEVAIS PEINDRE. C’est en comprenant l’ineptie de cette voie (cela ne m’a pas fait vendre du tout !) que j’ai finalement posé les pinceaux. Le seul aspect « négatif » qu’entraîne ce choix est la dimension forcément réduite de mes œuvres. J’ai essayé de contourner la difficulté en intervenant sur des affiches dans la rue, mais les possibilités créatives en étaient trop restreintes à mon goût.  Et puis, une gravure des Caprices de Goya ne vaut-elle pas des km carrés de toiles barbouillées ? C’est la densité de l’œuvre qui compte, pas son étendue. Et depuis que j’ai trouvé ce moyen de création, mon imagination n’a plus jamais été en panne et ma joie de créer reste constante.

 

 

Brushes vs. Scissors

16 years ago, at the turn of the millennium, I asked myself the question of the meaning and value of my creation. It occurred to me then that in the house I felt the most comfortable was collage. I must say that I make collages ever since 1967, following a crisis of inspiration that had lasted for over a year. It is not the formal question that paralyzed me, but the sense of what I was creating. I watched the world evolve quickly and my painting stagnate. It seemed insignificant. I must say that the years spent at the School of Fine Arts had fallen asleep the true creator in me. I've always been a dreamer, and since my self-taught beginnings, I tried to create images that came spontaneously. The school has put an end to this process in favor of a purely formal learning. I think I can say that I disconnected from my inner world. Unable to create as such. Unable to create like for ex. An outsider art artist, I was "saved" by the manipulation of printed images, whose link with the world or the news was obvious. This satisfied both the need to be connected to the "real" world and to be able to dream by manipulating images as in a waking dream. By making collages - or better photomontages - I reconnected with my inner world and they became therefore my only source of inspiration. All paintings made in 1967 were made by from collage. But I was told that to display and sell, I HAD TO PAINT. By understanding the ineptitude of this path (it did not make me sell at all!) I finally laid the brushes. The only "negative" aspect entails that the choice is necessarily the small size of my works. I tried to get around the difficulty by intervening on posters in the street, but the creative possibilities 


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