Résumé and extracted from the third part of the
book " rectoversion, the exit "
Part III
THE THIRD WAY
The third way is, at the same time, an artistic and philosophical
proposal. It updates the progress made by symbolically feminine
values and casts a different light on all that refers to the back
(verso) (chap.7). 'Rectoversion' is part of this transfer
of values but cannot be associated with a reversion or an inversion
(chap.8). By proposing a new approach to painting, it is located
in a new field where the rational and irrational become complementary
(chap.9).
THE BREATH OF LIGHT
Imagine you are in an immense virgin plain of any civilization
apart from the presence of a monumental wall which stands in front
of you. The size of this sand coloured cyclopean stone wall is such
that you cannot see its end on either side. Its height also prevents
you from seeing what is behind. However, when you raise your head
you can clearly see halos of white light and you can understand
that the other side is flooded with an exceptionally luminous light.
You lower your head and discover now, as if embedded in the bottom
of the wall, a gate of human size. By focusing your glance on this
dark oak gate, you realize that it is vibrating strongly, so much
so that light rays from the other side sporadically come through
the gaps. The gate trembles so much that it is on the point of flying
into pieces.
Strangely, you do not hear any noise!
The light behind the wall seems soft and sensual, almost alive
and intensely super-human. You understand intuitively that it is
not the wind but this light which pushes the gate which still resists.
You also know that this gate which continues to vibrate protects
you because you would not be able to resist against the pull of
the breath of the light. You are inclined to believe yourselves
in a surrealist Dalí painting, you know, one of those which
connected to you to painting.
For the moment, you are alone in this place you would not have
even dreamed of and that you do not know, without sun, shadows and
animals. You remain thus, for days and days, divided between the
certainty that the gate is yourself and the precariousness of the
well-being of your lack of concern which condemns you to remain
there, yin actor of an ancestral play always played out in a closed
theatre. It is the price to be paid by the creator, the hidden face
of the inspired painter or the visible face of the damned painter.
Who can hear you, who can understand your lunar modesty allured
by your solar fury?... (...)...
ICONOGRAPHY IN RECTOVERSION
Whether the base is single-sided, double-sided or three-sided (rectoversé),
our paintings do not tell stories. They pictorially materialize
our daydreams by offering mental images that are close to contemplative
visions where direct observation of significant reality has little
place. Even if they may give a pleasure of a sensual nature, their
vocation is metaphysical. Our iconography does not represent space
as the eye can see it but rather space as the spirit can imagine
it. This is why their legibility depends more on the intuitive capacities
of the onlooker than on a discursive speculation. There are no instructions,
no single way of reading, every one can see them as he or she wishes.
In contemporary art, it is good form to show that the invisible
exits but not to show the invisible. Our mental visions put into
painting are obviously too fantastic for the some, too religious
for others. However, this iconography does not fit into the unity
of a faith and its references are numerous. It is quite dissimilar
from a religion or philosophical system, which would be closed in
on itself. In 'Rectoversion', a structural combination
which is particularly appropriated for it, it finds the confirmation
of its polysemous nature. 'Rectoversé' iconography
opens out towards an 'elsewhere' that is not marked out in order
to nourish differences and contradictions...(...)...
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