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Mixed Media mixed medias accés securisé
Art Sacré
Art Profane


Art and Emotion (continued)

Seeking the fulguration transcends me; my biological condition withers away, turning me into an incorporeal "ectoplasm". That is ecstasy; that is what makes me feel different; that is what makes my body different from my soul. It is an inaudible sound, a colourless, empty picture, a speechless voice, the heart's eye, the most beautiful look.


Working on the mass as a substance in order to make it discharge the potential intensity of the energy which it is ready to release.

In its essence, my work takes its roots from the analogy with the electric spark of the endometrium; with the birth of a subjective, latent, and irrational emotion, that of the clash between the substance and the idea.


From this substance "in abeyance", willing to live, one must through signs, through the way, and through the gesture (more or less dazzling, profound, fierce, dry, curved) give expression to the materiality of an inner vibration – the dreamlike vision of a flash of lightning – the introspection of a craving or of a repulsion – the outcome of an idea at the beginning of the work that will, in all likelihood, lead to a new instinctive expression; an expression whose springboard will be the worldly space that separates the beginning from the end of this gesture and that I will call the "joy of good fortune". The intuitive analysis of these gestures stems from the instantaneous exchange between the substance, i.e. the tool between the hands, and the vibration or vibrations.

The expressed signs can have, as a starting point, a pre-existing code, such as writing, music, plane geometry, or a three- dimensional space. This starting point can be exclusively exhaustive and can, as well, result in an informal discovery induced by the material or the gestures. The material matters little so long as it lives, breathes, and inspires. As to the gesture, it could express an idea that is intimately related to the subject or utterly rejecting the latter if the thematic introspection lays down a somewhat more-or-less felt mode of contrast.

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