Art and science are inseparable
With the seasons
This wooden painting is the first in the series The Four Seasons. Small formats help me fine-tune my plastic vocabulary before transposing it to a large format.
The panoramic view expresses well the course of time and space. It also allows to work well the light and color of each season. This format also corresponds to my scope of consciousness, at the same time as my need to include long time in the perception of the painting.
The joy of style
With this painting, I wanted to deepen the potential of the range of greens valued by a complementary range. The contrast, softened by the transition shades finely degraded by white, widens the palette. A few glazes in the half-fee offer a mystery to the whole work.
The respect of the drying time between each session (ten days minimum), requires patience; therefore, I always have several canvases under construction.
Carried by the real
The avenue, seen from my balcony, inspires me according to the seasons. It is the opposite of Mount Sainte-Victoire; Cézanne saw his motive at ground level; I see him out of the ground...
With Avenue-2, in construction, I know the limit of abstraction, I stop just before killing the image. But I think it will still take a lot of imagination for the viewer to see it...
Nevertheless, the plastic idea is still guessing.
Between dog and wolf
After its disappearance behind the horizon, the Sun abandons the landscape to a palette of colors with similar values, where all cats seem grey. What a challenge for the painter!
To restore his state of mind, the painter invent a range of colors from a blue dominant. The city lights then serve as an integrated contrast.
In the evening, when the sun dances on the Haute-Meuse, the presence of the four elements (Fire, Water, Air, Earth) always offers me a spectacle, both banal and exceptional.
With Mosan Blues, I also evoke the sound of a tranquil landscape heckled by the rattling of the birds' flight.
Even if painting is a silent art, the artist observes reality with all its psycho-physiological attributes.
By accepting more willingly the inspiration from my unconscious, my style evolves from work to work by bartering the dolorist side of painting for the joy of painting.
With the theme of Landscape, I gradually give up my oscillation between figuration and abstraction to meet my need for synthesis, by means of clean, dense and penetrating plastics. I aspire to a suggestive art, therefore abstract, without necessarily losing the figurative aspect. In other words, I have only one ambition: to see the real with the intelligence of the dream.
Nothing is solid
With this canvas, it seemed interesting to me to suggest the castle of Freÿr instead of showing it, by a row of trees on the edge of the Haute-Meuse : the Orangery disappears in the light of the backlight.
This approach allows to concentrate on the subject by releasing the touch of the yoke of his drawing, where mastery and improvisation sometimes compete with the star.
Nothing is solid, everything is vibration.
Bye bye, sweet France...
How can you translate the movement of the Yellow Vests into plastic language, without pouring into the tearful imagery? In these manifestations, there is a lot of yellow (life in distress) but also sulfur (spontaneity), green (hope), grey (sky), blue (jeans), purple (sadness), red (war wounds). black (law enforcement and black blocs) and white (street medic).
In a democracy, the blood of any protester should remain in his body because protesting is a constitutional right; therefore, I invite you to sign the petition initiated by Laurent Thines, Neurosurgeon and Department Head of CHRU Besançon for a Moratorium on the use of sublethal weapons.
I dedicate this work to all Yellow Vests mutilated for life.
The internal search engine makes it possible to find works in the Catalogues by year, by technique, by medium.
To see all catalogued works, type Francis or Gengoux.
"The form isolates; the force (movement) connects: at all times, great artists wanted to combine this double and inverse capacity." (René Huyghe, Formes et forces, Flammarion, 1971.)
Exhibition planned at the Artpéro gallery in Crupet (Belgium), except in cases of force majeure where everything can happen: electronic quarantine, reorganisation of capitalism by a planned financial collapse, civil wars, world war, monstrous floods, global cooling, near-Earth asteroid, super volcano, mega earthquake, permafrost in the Arctic, reverse magnetic poles, distance from the African continent...
Nevertheless, the artist can still reenact the world.