COPYRIGHT M.J.S ou "LES FLEURS QUI PLEURENT" PEINTURE ORIGINALE DE DOMINIQUE BOYER © TEXTE ANTOINE ANTOLINI EDITIONS EDMC MULTIMEDIA 2011

Sous le choc de la douleur la plus cruelle qui puisse exister...l'artiste est confrontée à la disparition d'un être cher, sa fille... Dominique Boyer peindra alors M.J.S. comme un hommage à son enfant disparu, comme un cri de souffrance adressé à l'humanité entière... Une œuvre d'une fascinante beauté, d'une intensité esthétique et spirituelle supérieures, excéptionnelles, une peinture rare... Rare, de par le contenu, rare, de par l'état intérieur de la mère et peintre qui a pu la produire... Les deux étant liées. Ce tableau hors de toute évaluation matérielle possible, montre une allégorie de fleurs... qui pleurent... Cette représentation imaginaire, que certains pourraient à juste titre ressentir comme surréaliste, du fait d'une fiction du possible, rejoint toutefois l'école de l'impressionnisme abstrait, par son style pictural, sa logique expressive, habitée d'un contenu de message fort. Non point onirique, le tableau est en fait, issu de l'intention d'une interprétation de sentiments intérieurs... Ici, la peintre est dans l'expression présente de la réalité, de la douleur humaine, car elle à perdu un des êtres le plus cher à son cœur, sa fille. On se doit d'intégrer intellectuellement ce fait déterminant à la vision même du tableau, pour mieux lire, pour comprendre plus profondément le sens ultime de ce travail, pour sentir toute la portée magnificente, spirituelle de cette peinture. C'est un paroxysme, l'exacerbation d'une tristesse infinie. Les fleurs pleurent, comme une issue à un désarroi intîme de l'auteur, une extériorisation de la douleur et d'un chagrin viscéral, qui noient le cœur de l'artiste... Exemple inouï pour démontrer que l'œuvre d'art, est aussi ce réceptacle, ce territoire pour exprimer le non-dit, le ressenti, tout autrement que par des paroles. Une allégorie peinte par Dominique Boyer, comme une sublime prière, comme un souvenir vivant, comme une souffrance en tonalités et couleurs, en signes et en sensibilité... Un tableau qui montre une douleur pour rejoindre une autre souffrance, mais alors qui celle là, demeure indicible... Dominique Boyer à réalisé avec M.J.S. ce que l'on appelle, généralement, un Chef-d'œuvre. A la différence, toutefois, que ce n'est point ici l'aboutissement d'une recherche technique; c'est un témoignage artistique de la plus forte implication que puisse avoir la peinture,  en tant qu'expression du poétique signifiant, peinture expression de la "poétique" au titre de langage supérieur - Dès lors à ce titre indubitablement évocatoire de spiritualité. Les fleurs, la poésie du monde floral, est depuis toujours si intimement associée à la société, au groupe humain, cela depuis les temps les plus anciens, les fleurs à la naissance, des couronnes de fleurs autour du front synonyme de pureté, bouquets d'amoureux, des lauriers des Césars et de la gloire aux grandes gerbes funèbres in mémoriam... Mais ici, Dominique Boyer, dépasse les dimensions connues, ou conventionnelles de la symbolique des fleurs... Son tableau est un acte esthétique plus que sociétal qu'elle offre aux yeux du spectateur. Par le médium de la peinture, son domaine, son univers, elle redéfinit, re-potentialise le rôle traditionnel de la fleur pour en extrapoler un autre moyen-support artistique d'expression de la douleur humaine. Le mal-être d'un peintre qui pleure et le pinceau traduira cela, sous forme d'art. Les fleurs sont personnalisées, associées, par Dominique Boyer, comme participantes de son chagrin, en même temps celles-ci témoignent, stigmatisent la blessure, sortant de la douceur de Nature, pour ployer de tristesse sous la violence de ce drame humain qui arrache une fille à sa mère par la mort. Ces fleurs qui pleurent pour partager la peine, ces fleurs au côté du deuil... C'est au-delà de la perception possible d'un langage de fleurs, c'est une projection originale, un tableau floral d'une force unique en art par le sujet et les circonstances qui ont produit le contenu. Un signal atypique qu'a réalisé l'artiste dans l'art contemporain pour tenter de vaincre l'irréversible. Car ces fleurs sont avant tout en en elle-même, et si la peintre les transpose sur la toile c'est pour symboliser intuitivement leur mission messagère, leur donner une compassion transcendante, en extraire un lien avec tout le règne de la Nature, lorsque tout ce qui est humain est perdu, lorsque qu'il n'y a plus rien à dire, lorsque l'humain a atteint ses limites, et que seuls lui restent les pleurs pour langage de douleur... Langage des pleurs... Ces fleurs qui pleurent sont aussi souffrantes que le cri de Munch, elles sont le silence de Boyer. Un seul recours pour Dominique Boyer, avec le moyen de l'art pour en faire image intemporelle, impérissable, au-delà de la mort. Dominique Boyer en nouant pleurs et fleurs dans son tableau à donné une autre amplitude à l'expression picturale du ressenti. Dans la délicatesse, le fatalisme, hors de tout les chemins du connu, Dominique Boyer à peint M.J.S. qui entre aujourd'hui, sans bruit, dans notre culture européenne, pour dire toute la sensibilité, la subtilité de notre berceau artistique en continuel renouvellement de beauté et de noblesse d'âme dans la trépidence de notre siècle matérialiste. Souvenons-nous des tournesols polymorphes de Vincent van Gogh, dans lesquels le peintre projetait toutes ses angoisses, toutes ses hallucinations... des nénuphars de Claude Monet, suspendus dans un ailleurs évanescent plein de spiritualité; Les "fleurs qui pleurent" de Dominique Boyer prolongent avec excellence,, comme ont su le faire ces maîtres, le réel dans l'irréel... pour faire sortir des tréfonds du cœur et de la souffrance, de la peine humaine de tout ce qui est vain, la signature florale d'un autre absolu, d'une autre certitude.

Ce grand et beau tableau de 100X100 cm est en exposition publique et sera visible en 2011 à l'Espace Muséal des Éditions de musées et de la culture au Pôle d'Exposition Sud Côte-d'Azur.

texte: Antoine Antolini, Août 2011

DEPARTEMENT RECHERCHE EDITIONS EDMC MULTIMEDIA © AOUT 2011

Pôle d'Exposition Sud Côte-d' Azur " TALENTS DES ARTS D'AUJOURD'HUI - Août 2011  Surtitre: "A distance des étranges tournesols de Van Gogh, ou des nymphéas de Monet, Dominique Boyer, a créé une scénographie originale du sensible en peignant un tableau d'une poétique rarissime de fleurs "qui pleurent" - Titre: "M.J.S." ou "les fleurs qui pleurent", peinture originale de Dominique Boyer" © Texte, Antoine Antolini - Août 2011

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TOUS DROITS RESERVÉS POUR TOUS PAYS - LOI DU 11 MARS 1957 -

Martine ANCIAUX, artist-photographer,

"The Photo-Paint Martine Anciaux, A new international design."

A European approach to research in the arts, which has managed to transmute the status of the photo in one of contemporary painting and vice versa.

Farther than the traditional masters of the photo or painting, Martine Anciaux able to make a final ambivalent today photo and painting.

Visual artist has produced a work of European art and innovative international, which combines the new digital technologies and the most current knowledge of aesthetics. She has created a new concept of "photo-painting contemporary. (Or "painting-contemporary photography"). With a proven intent pictorial, the artist works in the photo abstraction mainly, and photographic formulations of abstract impressionism. His style, starting with an image of reality, the interpreter, abstractly or deconstructed the image to be reconstructed into new dimensions of abstract landscapes. The artist has a very European approach to confront his artistic references to painting and photography, his innovative style, the creations of other continents, lasting for long in the international art space.

1) - The search for Martine Anciaux: Its aesthetic extends over several decades, to today has an expression involving three key parameters: the concept of an abstract aesthetic advanced the technology of color as means for a photographic work as support material for a new contemporary pictorial aesthetic: the "photo-painting." His palette, his Colorist, have no limits in the optical spectrum known. His work on the light led to the creation of an effective visual that captures light energy and radiates from his creations. The aesthetic content of his work defies the most abstract paintings and contemporary hyper-realism of the most talented, so much so that the work of Martine Anciaux today raises questions about art, painting in the twenty-first century. Anciaux neutralized at the border between pigment and pixels, to give the viewer a piece of art, which contains all the elements of pictorial abstraction, presented as a new form evolved further than oil technique, or acrylics, which she calls "photo-painting". This is a bypass, an interplay between painting and applied techniques of photography in a new modality of contemporary art.

2) - The status of photo-painting: The work of Martine Anciaux, we refer to the same etymology terms "painting" and "photography", to tell us that the means of technology have changed the data of art. Drawing with colors, represent new technological approaches of experienced interior is possible ... With this plastic artist palette "pixelated" may be tempting, sensual, warm, and move the viewer's sensibility, is the paradox that teaches Martine Anciaux marking the art of this essential for the understanding of new forms of contemporary visual. How to represent an image instantly, an idea, how to produce the photo with a feeling simultaneously like a visual action painting, and that he was of abstraction, where the photo was born ...? Martine Anciaux gives us his answers by asking his concept of "photo-painting". The artist has made "transmigrate" each other the two approaches and photo paint, build inter-dependence in a single work. She has helped with his research, the area of the photo of "transgression" that of painting, in a positive and constructive. It is evolving, converging the two technologies into a new expression. The abstraction, the monochrome minimalism, but also the abstract landscape, surrealism or the hyper-realism, no secrets for Martine Anciaux.Elle redefines the redeployment. The artist knows how to provide the public with new expressions modernized, upgraded to standards and forms of the century, "phasing" technique and aesthetics with the progress. The "photo-paintings", the "photographic paintings" Martine Anciaux, have brought the status of photography in abstract painting, like painting hypperréaliste could bring the status of photography in painting. Just turn of events. Martine Anciaux has now internationally and leadership of a new art form. In his interviews in March 2010, the Centre for Research in Art and Heritage Conservation CRACP Europe-Europe, the artist has clearly stated its intent and content of this work, which is an advanced art. The realization of the video "the universe Martine Anciaux, visual artist-photographer" during testimony to the importance of his career and the international scope of its creation. Work, work, marking a milestone in time, a reference design readable, for researchers in contemporary art.

3) - Techniques of the XXI century: the visual techniques could lead only to give a new theoretical statement in art. While spending the continuous painting, his own redefinition, the new components of oils, watercolors, acrylics, dividing the territories of the picture, also in the dimensions of the hyper-realism and abstraction, contained from the 60 and 80 the seeds of this evolution. Since the pictorial compositions with inclusions of photographic pop-art, extensions, and consecutive hypperréalistes HYPP-figurative, then the realization of a computer-art in evolutionary dynamics, a computer and digital art plural "videographer" a new concept was there .. deep in gestation, a page had to be turned, a beacon had to emerge clearly in contemporary art ... Martine Anciaux in the first step and has managed a synthesis based producing a new proposal strong and international contemporary art. This may mark a useful new stage of evolution. The new stage that the work of Martine Anciaux noted the public is expected this mutation in painting as in photography. This new Martine Anciaux vision creates a symbiosis of the two arts, painting, photography, keeping their respective gasoline. Its abstraction is based on the fundamental reference currents of art, incorporates their specific logic to exceed, in a new originality. Visual artist fuses painterly and photographic art. She adapted the digital painting as a way, the picture as a support to go further into abstraction, give us access to new abstract impressionism, at the dawn of this new century.

4) - Europe and internationally. The museums and galleries. The innovation of Martine Anciaux entered the visual aesthetics of international Martine Anciaux now displays in museums and galleries in major capitals around the world, both in Europe and Asia, or America ... In Europe, in France, including Paris, Marseille and Nice, and other major cities in England in London, Dublin Ireland, Italy, Rome, Barcelona, Spain, Switzerland St. Gall, United States, New York, Miami at Florida Institute of Art, Argentina, Buenos Aires, the Museo Roca. Very popular in Asia, including Japan, the Museum of Kobe, but also in the Museum of Taiwan. Martine Anciaux be present in China, with France at the World Exposition in Shanghai.

Anthony Antolini. April 2010

Centre for Research in Art and Heritage Conservation (CRACP)
Painting exhibition by the arts today. "Photo-painting Martine Anciaux" March 2010 - Exhibition Centre and the Research CRACP - Europe - F-83-Toulon/Côte-d Azure - © Text, Anthony Antolini CRACP / editorial EDMC Branch - Centre art research and heritage conservation - 2010 E-mail: centre.cracp @ yahoo.fr Tel: 06 10 99 90 98 - © Editions museums and culture EDMC 2010 Research paper art - can be used freely whole or in extracts by any user, writers, students, journalists, citing the title, publication source and author
"Photo-painting Martine Anciaux"
© www.artisticmuseography.com - Anthony Antolini-2010
links on www.artisticmuseography.com Martine Anciaux authorized user or extracted from text according to the above arrangements

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ALL RIGHTS RESERVED FOR ALL COUNTRIES - ACT 11 MARS 1957

Claire Deville, visual artist "Materialization of formulations empty of existing, and light" ...

"A master of form and consistency. New plastic expressions, which are inscribed in the advancement of international contemporary art today ..."

Claire Deville, considered by his work as advancing the art is integrated into the panel of referees European artists, under the auspices of the Centre for Research in Art and Heritage Conservation (CRACP). The designer is an exhibition that was conclusive. In fact, his works and methods of installation, or suspended in space by positioning statuary on pedestals transparent, with games lightings, showed a group of visual artists stage designs that are redefining the fundamental concepts of occupation of space. The artist has been chosen as the avant-garde visual artist high level by the Centre.

Introduction: Deville has to go initiating new visual identity, as so many of advanced formulations specific to contemporary art. Through the games of a material-support subtle most technically mature, the artist develops itself in metal mesh and structuring of forms, and have have seen other ways of achieving the current art be summoned before the public. By performing original capture of the shadow and light, the artist challenges the viewer through the son of metal, copper, silver, steel, stainless steel, or even nylon. .. It introduces, through various forms and cell widths, building works in the material, calling in a grammar of the compact, or a transcendent light, the essence of other aesthetic dimensions ...

I - For Claire Deville, metallo-graphics, lights and shadows, work in harmony in the work.

Claire Deville, after acquiring several years, understanding of materials most demanding, was oriented towards the use of various metals, processed in the form of filaments. She aestheticizes to perform other statutory impact. The artist produces a new sculptural differential, which said metallic vision of another world. Produced from non-standard logic, the closer in harmony with the light, and the level of its strengths, its metal-synthetic works, such as' scum of days "take us beyond the current art, to of timeless, abstract suggestions ... The visual statements that are not yet final, irreversible, irreversible ...
The works of Claire Deville, are formulations space loaded with mystery, polyvalences, the concept of presence there can be fleeting or fixed on or proven. She lives in balance, volume, contrast, form and matter, light, lights, or synthetic metallic colors ... Translation stealth, formal and informal time, transient and this, this strange sculpture framed, timeless, is likely to renew itself in as many positions complex, provided inspiration allusive and projective, feelings, sensations materialists or imaginary, such as the artist wants. These creations are predestined to link the closest touch with the idea of absolute. The works of Claire Deville, convey in their evanescence, an ethereal and intrinsic multiformis. The artist knows very well the freeze at any time by plastician original form. Claire Deville forward in the provision of works, facing the spectators, the impregnation of its deepest interiority, all the vibrations of his intimate moments-of-being the strongest. The paroxysms of the seen and the unsaid are formed in atmospheres, and exhale around these cosmetic formulations so positive. Unusual works, which remain long in comparison with the interrogative gaze of the public, which stigmatize the exhibition space. Proceedings of art in the open questioning of the ambivalences other strata of perception of other artistic, spirituality ... The piece titled "infinite" wire, compressed between two sheets of plastic, is both explanatory and allegorical, but as evocative of this area of work tirelessly explores the visual.

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Claire Deville, visual artist (ii)

II - Structure and consistency of tiny forms in the work of Claire Deville

In various colors and thicknesses, assortments, the mixity of components, grouped in widths openwork or more narrow, raised structures Claire Deville statements can not be ignored in contemporary art today. You can see these structures declined in creating visual harmony resonances with their immediate environment. Polymorphisms polygraph, the linearity of the overlying metal internal works Deville, come emerge independently, generating other languages. Vertebrae lines of force, the axes of the metal, are reported in terms artefactual, as signs-lines from the dawn of time. Vision of the suspension space, installed above the floor, textured silver matterism, which is superimposed lines in the visual context of translucent wall background, to bring alive the recollection of a cave painting. Deville contrasts the strengths and forms of material-visual media it manufactures. She redeploy the meaning of the colors originally enslaved by judiciously combining the interaction with light and shadow, empty and full, the visual environment. The position plural work in a dialectic of reality, release all possible aesthetic, and makes the creative intervention of Deville, a trace readable in the field of artistic innovation.

Conclusion: Visual artist marks another potential identificatory, a breakthrough in the field of theories of the volume. Aesthetically, transcending the boundaries of art known procedures, extrapolating his work beyond all preconceived understandings, Claire Deville managed to break the perception, to expand into other abstract expressions. The artist creates his works by new notions about the consistency of forms.
A signature made final frame and lights, tiny structuring and plural, which propagate in our existing societal an artistic world that means instead of Claire Deville in the forefront of European art of the XXI century. His work advances the contemporary approaches to our continent, and produced a new facet of the art internationally.

Anthony Antolini, November 2009
Centre for Research in Art and Heritage Conservation (CRACP)

Exhibition "Memory of the arts today - Exhibition - Installation Claire Deville, artist"
October 13-November 3, 2009 - Exhibition Centre and Research - Toulon (Var) in October / November 2009
Catalog Claire Deville, artist - title "Materialization of formulations empty of existing light. subtitle "A master of form and his consistency; new plastic expressions, which are inscribed in the advancement of international contemporary art today."

Text and photos © Anthony Antolini - CRACP / EDMC -
Editorial Department - Centre for Research in Art and Heritage Conservation - 2009
- E-Mail: centre.cracp @ yahoo.fr Tel: 06 10 99 90 98
Internet broadcasting, audiovisual media and any support
© Editions museums and culture EDMC 2009

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Aesthetic analysis of the work by Anthony Antolini

WORK OF JACQUELINE MORANDINI


Methodology: After having read the work of the painter, a representative sample of his work was selected and exposed. On the basis of it as an aesthetic analysis has been performed directly in view of the works installed on site, in confrontation with the public. The most referred to works that have been reported are presented in the text; Moreover aesthetic analysis of the content has been prepared taking account of an interview conducted prior to the painter, to better integrate the logic of his artistic process. Morandini Jacqueline has exhibited her work at the Pole Art Publishing museums and culture (EDMC) private organization - The artist was present at various times to explain his approach to the public and clarify his work. Dates: Exhibition organized in Toulon (Var) of 8 to 27 June 2009 - entitled "Talents of the arts today" - extended until July 15, 2009 -

Works put on display
"Daydream" 2009 - (60x60cm) black and white.
"Inner Beauty" 2009 - (30x30cm) black and white.
"Zen Attitude" 2008 - (160x40cm) black, white. Vertical
"Emotion" 2009 (60x30cm) black, white, red.
"Breath of emotion" 2008 (30x30cm) Dark, white, red
Objective Passion "2009 - (50x50cm) black, white, red.
"Fire" 2009 (50x50cm) white, black, yellow, orange.
"Glow" 2009 - (60x30cm) black, white, orange, yellow.
"Hot Line" 2009 (30x30cm) background orange, yellow, black, white.
"Fire" 2008 - (30x30cm) black, white, orange and yellow.
"Burning Earth" 2008 - (50x50cm) black, white, orange, yellow.
"At the heart of the Earth" 2008 - (140x40cm) black, white, orange, yellow.
"In the depths of the Earth" 2009 - (40x40 cm) copper, silver, gold

"The meaning and sign a new language ..."
"From the act of painting the message"

PART

Jacqueline Morandini expresses in his paintings being in its spirituality, creature in the world. From memory disappeared from the distant past of our civilization has been able to codify messages felt towards our environment and our future, the fates of man and the planet.
Art archetype (1), the artifactual landscapes (2) Morandini, the new universal language that the artist has constructed in our modernity, remain enigmatic and voluntarily make this artist a leading researcher in European culture.
(1) Greek arkhaios: ancient, past and tupos, model form, borrows arkhetupon; lit. ancient form, by ext. "art models a fundamental aesthetic formulation.
(Two) Latin artists factum: that the art we can define the artifact in painting, as the random effect induced and non-product appearing voluntarily in pictorial applications and the artist will construct or not according to his intentions aesthetic.

I - Analysis of the work, meaning and style

I - 1 - Painting and message of civilization.

The painting of Jacqueline Morandini modernity expresses all the questions current human face our future. The artist is interested instead of being in an environment that exists within a civilization, with its share of spirituality which is now in constant confrontation with his share of materiality questions the artist.
Morandini expresses in his work, this duality, evokes ambivalence, sometimes producing message contradictions that can spring forth. These are then projected in terms of spirituality, suffering for the being, the planet, the environment without dissociating the landscape and the human being. The two are closely linked and irreversibly interdependent. Man and Nature are one. To exist as a human, is living in harmony with an environment, an environment.
The artist brings brings the innovative vision of a different landscape, intellectualized: Feeling a landscape designer to know that feeling of being who lives and who lives is to understand and translate their feelings, sensations specific This approach allows the painter to better understand the logic of a place, a forest, a city, a sea .. a landscape may also suffer ... Morandini expresses it, tells us what feels to be living there and warns us about the suffering of Nature damaged, with worrying consequences for our civilization.
Jacqueline Morandini treats the landscape abstraction through a vision and felt that she was able to mail this in a real echoes. The traces that can produce devastating civilization on the planet today can come at stages of irreversibility if one is careful. His approach is intellectual and pictorial itself universalist in space and time. His style becomes the medium of magic messages. Thus it says in tables are the remains of more distant past, the beginning and end of things and beings, the status of this environmental issues and his backup, the uncertainty and threats of an uncertain future. His message Sentinel, crayon and significant in the foreground of his paintings, is superimposed on the deep traces of the latter plans, where we just challenge all questions polymorphisms, artifacts, abstract, landscape and semiotics, we cry the lost civilizations. The viewer can then, as a mirror to see his own past, illuminate the mind through a symbolism of signs that say it all the sense of the transitory nature of civilizations and the evolution of the fragile human being. ("Daydream" 2009 - (60x60cm) black, white .- "Inner Beauty" 2009 - (30x30cm) black and white. - "Breath of emotion" 2008 (30x30cm) Dark, white, red - " Zen Attitude 2008 - (160x40cm) black, white. vertically - "Objective Passion" 2009 - (50x50cm) black, white, red.)
Morandini sends us the fleeting passage of time and reduces inevitably remains the most beautiful civilizations of Sumer, Egypt of the Pharaohs, Babylon or ancient Greece-What will happen to our future , our forward thinking, our advanced technology, if we do not respect nature, Planet. The artist with her paintings and convene our present state of our planet and to bring them into questioning the vision of all the past.
His work becomes a medium of collective feeling. His palette eloquent and codified in the grammar mysterious part in the awareness of our pluralistic environment and man, the future of civilization.

I -2 - Analysis of pictorial language

His pictorial language mastered instantly transports us in his paintings, the most distant past to the present, to speak about the future ... As a deciphering all the riddles of writing, the relentless quest of man to the realization of communicating his will. Morandini extrapolate all cognitive functions of the sign text to give him a new understanding and a new status. Having discussed new forms of ideographs, images, correspondence Expressions Colors signifying, Morandini gives even more meaning to the abstraction and marks the original design a new pictorial language innovation. It contains the return, sources founders of hieroglyphics and cuneiform, taking from the origins of all conventional understandings of signs and meaning transcend artistic and use it in new posts.
Beyond protosinaïques mysterious plots, ideograms shamanic; Sumerian pictographs or hieroglyphics, Morandini was able to synthesize all the talk of the wedge, we bring them to an aesthetic alchemy, magical and abstract alerts us the future of civilization today.
("Breath of emotion" 2008 (30x30cm) Dark, white, red-Objective Passion "2009 - (50x50cm) black and white, red." In the depths of the Earth "2009 - (40x40cm) copper, silver, gold - "Daydream" 2009 - (60x60cm) black, white .- "Inner Beauty" 2009 - (30x30cm) black and white. "Zen Attitude" 2008 - (160x40cm) black, white. vertically - )
The painter of signs leads us color-controlled anamorphosis, artefacts well managed, intentional acts, in a new universe or we feel and see at the same time. Images, traced to deep meanings and hidden, are revealed by the artist who painted together "what is Man" and "what makes the world" ... It shows in his painting that this new link. Having been able to stylize the bridge between now, yesterday and today, in a timeless continuum.
("Breath of emotion" 2008 (30x30cm) Dark, white, red - "Purpose Passion" 2009 - (50x50cm) black, white, red.)

EDMC Editions Antoine Antolini, 2009
Aesthetic analysis of the work of abstract artist Jacqueline Morandini

END OF THE FIRST PART
BELOW: PART TWO

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PART TWO (continued)

II - The pictorial Jacqueline Morandini
- Developments -

II - 1 - Being, civilization, a message archaeological said our future

The intellectual approach of the painter, his intention is to express a message plural: Preservation of our environment, confront the dangers of pollution, deforestation, which threaten the rights, issues of protection of nature in modern civilization , The Evolution of Man, taken as a human being, his progress since the dawn of the first time. Companies now operate in fast to the virtual, the dilemma of spirituality and materiality, the risks of unbridled consumerism, the development divisions, which are problematic is interested the artist. Look and past history shows that civilizations follow, as they are more or less ephemeral. An abstract painter, Jacqueline Morandini expresses in his work an original artistic message, humanistic and sustainable conservation and global environment, using wrenches timeless aesthetic, signs and colors that affect our most distant past and as we speak of our present and our future.
("Objective Passion" 2009 - (50x50cm) black, white, Red. - "Burning Earth" 2008 - (50x50cm) black, white, orange, yellow.)
In his concept of being, it is treated in its different levels of felt. The artist combines a range giving a meaning to colors, like a crayon grammar which it set the rules for us to talk about different levels of feeling. Concepts of spirituality and language, and higher planes, the heart and passion, the feelings of emotions, the external environment, society, language feature in its abstract, from specific colors. (See infra III). The concept of roots and the notion of depth is ubiquitous in the painter's thoughts. The roots and archaisms that mark the progress of humanity, the generic features of the evolution of human beings, the human aspiration to return to the source raster, preoccupy the artist. In his work in keeping with the artist confronts his logic, deals with interdependence, the material and the spiritual, the dilemma of the sacred, the timeless and the ephemeral, the contradictory relationship between Man and Nature, the paradoxes technological progress, and involution in the resources first. The environment, a precious heritage recognized, yet the vulgar desecration of nature, its soil and its sub-soil, the waste of its riches, all will produce as many messages alerting signs and colors in his paintings . Technological risks but also related to climate and natural part of these messages, preventive and humanists. ("In the heart of the Earth" 2008 - (140x40cm) black, white, orange, yellow .- "In the depths of the Earth" 2009 - (40x40cm) copper, silver, gold, "glow" 2009 - (60x30cm) black, white, orange, yellow.)
The artist combines the depths of the earth, and seas, in interfaces depths of the dawn of time and humanity. The colors assigned to the different states of sensitivity and feelings, are a particularly significant pallet code, which bears, to produce all elements of construction of messages.
Beyond colors, from deep within the visual codes of ancient civilizations, the artist pro, throws disturbing images, signs and abstract scenes, strange pictographs, routes spontaneous emotional evocations and projective, which frequently appeal to our collective unconscious.
(See also: "Zen Attitude" 2008 - (160x40cm) black, white. Vertically - 'Dream awake '2009 (60x60cm) black, white .- "Inner Beauty" 2009 - (30x30cm) black, white. - "Breath of emotion" 2008 (30x30cm) Dark, white, red - "Fire" 2009 (50x50cm) white, black, yellow, orange. - "At the heart of the Earth" 2008 - (140x40cm) black background white, orange, yellow.)
II - 2 - iconography to a new language

In the painting Morandini concepts and style are closely intertwined, they are expressed simultaneously.
The painter starts against both our past, ourselves, our ability to perceive and understand the messages in our future that 's included in his works. The destinies of civilizations is also that of our contemporary world. Awareness is therefore essential. His paintings are there to talk, to help the viewer to think, to question, in trying to unravel the mystery of the artist's paintings, it will show new worlds emerge from the confines of a narrow mind towards other which are his own horizons. The viewer is then confronted with the resurgence of its own history, and more broadly to those of its origin and its future. The artist painted convene through abstraction, the ephemeral, temporal, fleeting and individuals, generations, societies that yet for a time, may be the most successful. The arts past, architectures, symbolic, myths, have failed despite all their power to withstand centuries.
The painter in his work, has made of the collapse of the archeology face of time, a new iconography. A pictorial about innovative, useful for us to warn and alert us to become our own world now.
("Daydream" 2009 - (60x60cm) black and white. - "Inner Beauty" 2009 - (30x30cm) black, white .- "Breath of emotion" 2008 (30x30cm) Dark, white, red - " Emotion "2009 (60x30cm) black, white, red.)
By painting in the new language of archaeological timeless memory, the artist tells us that nothing is certain or permanent, for the man on the planet. The progress of civilization, whatever, does not guarantee the continuity and the painter Jacqueline Morandini we deliver the evidence in his paintings.
The semiotic aspect of his work specifically, we take the figure of speech protection of nature but also of Humankind; In a style consistency, consistency authentic. The good homogeneity of the artist's work accentuates the notion of language. The overall visual table is the result of an innovation in the sign, which is a trace, a deep groove in the art ...
Language immediately identifiable, gesture controlled architectures constructed or phraseology abstract, the viewer must know and be able to own. ("Glow" 2009 - (60x30cm) black, white, orange, yellow.)
The artist untied us all frames sacred, all multiple meanings, all levels of reading to come, put on the canvas a mysterious synthesis. Through the strength of its vocabulary and grammar gives a real language that addresses the deepest being. A fact expressed logos, ideograms, pictograms, populated imagery "shamanizing" where the viewer can walk, get lost, "intend", understand, to return to the main message, that of transitional nature of the material world that surrounds it.

II - 3 - Landscapes "artifactual" J. Morandini (style and concept)

At the heart of all civilizations, Morandini reveals in his writing abstract and pictorial, the set designs of the most secret landscapes that populate our collective past.
Each canvas is both Morandini, a mirage and reality, a resurgence in ideograms, imagery spontaneously constructed and reminiscent of a distant past. This painting is our present challenge and is today to us through his questioning multiforme. The "see" and "look" make more sense. You can enter in the foreground works in an essentially aesthetic and abstract logic, derived from the sign as a wedge architecture. It may equally enjoy the paintings in terms of tonal sobriety, color coded, or to feel the spirit of consistency in the expression of form, balance, rhythm regular ... But we can equally see and sail in the second and more distant plans that support the act of painting, to the references, the allusions, allegories of ancient landscapes, with many reminders of complex architectures, and ruins of temples, sanctuaries, acropolis, which the artist can be born of a fleeting glance. No one can remain indifferent to the keys and tell us who tracks black and white, red, ocher and gold, all fragments of plans and sections, from ancient castles, mysterious portals, stairs lost in the past, "traces" these civilizations buried deep in our unconscious ... The artist puts his keys, like so many clues to follow the plot, the writing, for us to walk between a projection objective. Beyond any anamorphic colonnaded reliefs, hieroglyphs in the middle sets, viewers can go to and come in tiers of arches and cross built spaces, symbolic forms or remnants. We come finally to question facing a silhouette anthropozoomorphe, sphinx-like winged deity or ...
A world between dream and reality, between materiality and spirituality.
A fresco imagistic and projective put on the canvas in an austere Colorist, who summons the deepest strata of our civilizations, myths and cannon, to produce a contemporary art abstrait.C message is this unique alchemy that gives us Jacqueline's talent Morandini.
("Daydream" 2009 - (60x60cm) black and white. - "Emotions" 2009 (60x30cm) black, white, red .- "Breath of emotion" 2008 (30x30cm) Dark, white, red - " Zen Attitude 2008 - (160x40cm) black, white. vertically)

III - The colors and the act of painting - a style in which the message is colourism

III - 1 - the five states of color within a language:

The painter has built a range of colors in an agreement with its intimate feel. This limited range of tones and studied, 'meaning give an "expression" - language "to its sensitivity. This reflects the different states colourism its internal sensitivity in the outside world. This "language-color" involved in osmosis aesthetics, construction communicating the message Morandini. The painter developed a grammar crayon abstract and allegorical in harmony with the pigment colors of the world. His palette is archetypal and joined the conceptual message. It integrates its intentions messages in their report of colors in the world, (the fire, water, earth, sea minerals) ... These colors can express the feeling inside the artist, his reactions to the world, or to translate and interpret the feelings of human beings in its environment, similarly translate all its thematic message based on the color of this agreement it only established the resonances.
One can distinguish in his work five types of paintings, each with dominant specific staining. Each corresponding to the expression of feelings and sensations to the world. We can inventory, overall, five states of color in the expression of the work Morandini;
So the paintings:

a) - in black and white:
Treat and refer to the level of spirituality, the spirit, the relationship to be a fact, the opening, the past and beyond, the dream and float between two worlds. Dimensions of symbolism or the sacred, languages, knowledge, intelligence, but also reminiscent of our early proto, the idea of reptilian past, the rise in generic dawn of the early eras ... The pictorial representation of being and of civilization, in a symbolic column will be spine axis essential living being. Columns and colonnades that they will, symbolic, vertebrae and referents of past civilizations, architecture, temples ... Columns cultural identifiers, ionic, doric ...
"Daydream" 2009 - (60x60cm) black and white.
"Inner Beauty" 2009 - (30x30cm) black and white.
"Zen Attitude" 2008 - (160x40cm) black, white. Vertical
See also: "Breath of emotion" 2008 (30x30cm) Dark, white, red
Objective Passion "2009 - (50x50cm) black, white, red.
"In the depths of the Earth" 2009 - (40x40 cm) copper, silver, gold

b) - black, white, red: Translate the heart and passion, compassion, and humanism. The period black-white or black-white red marks the emotional side, the black-white-gold, the strengths of the planet, degeneration, the charred
Objective Passion "2009 - (50x50cm) black, white, red.
"Emotion" 2009 (60x30cm) black, white, red.
"Breath of emotion" 2008 (30x30cm) Dark, white, red

c) - black, white, orange and yellow orange: alarm about the environment, fires, forest conservation and the planet, the social environment, consumerism - "Burning Earth" 2008 - (50x50cm) black , white, orange, yellow.
"" Fire "2009 (50x50cm) white, black, yellow, orange.
"Glow" 2009 - (60x30cm) black, white, orange, yellow.
"Hot Line" 2009 (30x30cm) background orange, yellow, black, white.
"Fire" 2008 - (30x30cm) black, white, orange and yellow.

d) - ocher, brass, gold, silver: evoke roots, origins, depth, mineral Depths both ancestral origins from the Paleolithic caves, the foster-mother earth, the planet and its resources, soil and under -soils, mineral wealth in order to preserve development of civilization in time ...
"In the depths of the Earth" 2009 - (40x40 cm) copper, silver, gold
"At the heart of the Earth" 2008 - (140x40cm) black, white, orange, yellow.
e) - blue: blue-turquoise finally evocation of the sea, the azure blue evoke the coasts, the proximity of the marine, sky, and safeguarding against pollution ...

III-2 - The act of painting: meeting between theory and technique in Morandini

- Conceptually, Jacqueline Morandini knows we propose two readings, one made of the signs and one made sense. She knows how to make the viewer's eye duality of the world on canvas, drawings and cons-plans, empty and full, black and white, good and evil, the most and least, the pros and cons, yes and no, but also more subtly how to be or exist, live or survive. The artist poses the dilemma of being and of societies, or last pass, the allusions to the lessons of these civilizations buried in the rubble of their certainties. The artist painted the conceptual, the intellectual side of a message must save a planet. It can produce this message for the mind and heart, the viewer, the company, the world ...
- Technically the artist has managed to capture all the effects of gestural painting on canvas, causing the effects of exposures of the field, maintain the appearances of light and shade, let the light-induced states, save or are anamorphs lead, strengthen his speech with full color and powerful. Manage and direct all these effects for defining them, give them direction, keeping their formulation spontaneous, expressive and abstract.
Mixed media, acrylic colors to direct rapid drying, are used, as well as applications of oil color. Sometimes fingerprints were made by the artist and customize the pictorial intervention, make more privacy to the canvas in abstraction. Gels and mixtures of pigments are used in turn forces tonal colors. The artist knows the scenography silhouettages, intensifies the s characteristics of shapes, poses and composed. By forcing the lines, sometimes superimposing them rigorously in signs, the painter deep line the path of a grammar of style very original and innovative. By modulating its hilighting thick, architecture his signs in key regulated, the painter has succeeded in arranging a whole and aesthetically elevated into speech. These incidental effects, caused, these artifacts of the original act of painting is carefully channeled, without being distorted from their original strength, to be associated sometimes complementary, or interactivity with buildings more formal, intentional, symbolic.
This is an exceptional result of know-how, extreme sensitivity, intelligence pictorial, which is finally proposed to the viewer with an ideal potential of projective and suggestion.
("Daydream" 2009 - (60x60cm) black and white. "Emotions" 2009 (60x30cm) black, white, red. - "Breath of emotion" 2008 (30x30cm) Dark, white, red - "Beauty Indoor "2009 - (30x30cm) black and white." Zen Attitude "2008 - (160x40cm) black and white. vertically -" In the depths of the Earth "2009 - (40x40cm) copper, silver, gold-)
III - 3 - Assays felt inside like so many incentives to travel

Morandini titrations are invitations, incentives to travel in his paintings. The viewer can project himself with his own history. It can take the feelings of his experience with him, his past, while the lot of his unconscious, his ability to awareness of a present and a future. There are answers in the works Morandini. It is the viewer to discover. The meeting with the message of the work will or not, that depends on the receptivity of the beholder, his imagination, his expectations, his love of art. The title is there to give a track, open a way as possible so that the viewer can walk there without anything being imposed or opposed. The bonds are first sensations, subtle evocations put a veil on the table, it is the art lover to lift, to foresee all the secrets. In this world he can go after a journey of heart, a dream trip, a journey of passion, which on arrival enlighten his reason.

IV - Conclusion museology:
An art archetype culturally innovative

A new contribution to contemporary painting:
Morandini's work redefines the concept of communication, pushing further the limits of the sign and image. Morandini's art, the viewer walks in front of and behind the mirror, signs of an aesthetic to an aesthetic sense-images. The first signs are a vehicle elsewhere.
Morandini went to art beyond the usual forms of abstraction and discovered ways to use language as the potential artifacts and their power of evocation .. She knows how to manage the visual impact and cognitive, and make post.
The artist in a semiotic codified color palette has developed a smart component to paint the world into a personal language, at once universal. Indeed, the logic that the artist has assigned the colors, keeping them in their truth and authenticity pigment that correspond to the world, as the colors of the world, makes abstract colorism Morandini archetype.
In its style, the artist mastered the art of gesture, the key to disciplining the expression and create his own artistic universe. It offers the public a work accomplished, original built and homogeneous.
This makes the art Morandini a rare work. Both in the development of his intellectual approach, as its visual expression. The artist allows the viewer to reflect on his own history, civilization, to project itself in a dimension of abstract art in worlds that may more or less appropriate depending on the intensity of his feelings.
In his act of painting, the artist managed to design and develop an original, coherent and homogeneous in erecting his Masters in logic at once personal and universal.
By creating a sign-specific iconography abstract sense, an archetype palette, the artist has created an aesthetic grammar, which builds a new form of painting in contemporary international art.

EDMC Editions Antoine Antolini, 2009

Exhibition "Talents arts today" EDMC 2009
Catalogue of the painter Jacqueline Morandini - title "The meaning and sign a new language" s / title "From the act of painting the message"
Text: Anthony Antolini - Editorial Director -
Publishing EDMC - 2009
e-mail: editions_edmc@yahoo.fr Tel: 06 10 99 90 98
© Editions museums and culture EDMC 2009

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Andrew Bielen painter synthesis of abstract landscape and a new contemporary symbolism

FULL TEXT © editions EDMC
See also other photos in the gallery page Bielen Site

Andre BIELEN, painter
Aesthetic analysis of the work. "The style of A. Bielen "by Anthony Antolini

"... Bielen, painter of abstract landscapes and synthesis of a new contemporary symbolism ... "

Exhibition from June 15 to July 6, 2009 - Extended to July 11, 2009
Theme pictorial works from 2005 to 2009 exposed referents:
"The bonfire of vanities" 2008 - oil on canvas (hst). 73x60cm (frame-black 110x120 cm)
"The spirit of Basil" 2009 hst. 54x65cm
"Between two worlds" 2008 hst 80x65cm
"Suprema lex" 2008 hst.46x33cm (with black frame 69x81cm)
"On the jinn" 2005 hst. 38x46cm (73x81cm with black frame)
"Fates" 2009 triptych hst.100x20x3 (triptych - with black frame 120x150cm)
"Under the wing of the dragon" hst.40x80cm 2008
Having considered the work of the painter, a representative sample of his work has been selected and displayed. On the basis of this that the aesthetic analysis has been performed. Most referred to works were presented to the public and are reported in the text; Moreover aesthetic analysis of content has been prepared taking into account the screenings conducted interviews with the painter. Andrew Bielen has exhibited at the Pole Art Publishing museums and culture (EDMC) private organization - in Toulon (Var) - Exhibition from June 15 to July 6, 2009 - Extended to July 11, 2009.
Other paintings Bielen (non-exhaustive): "Land-burned -" The World "-" Black Ocean, "-" Under the Volcano "-" Genesis "-" Nebula "-" Abyss "-" Spirit "-" Legend - "The Master-of-water" - "Les Forges de Vulcain -" Spellbinding "-" Balkys.reine of Sheba "-" Eternal war "- also a" Tribute to Leonardo da Vinci

Introduction

Andrew Bielen us into a universe which alone holds the keys. Each work offers a "vision-shock", a powerful and always different facet of the universe Bielen. The painter is part of the new generation of abstract landscape.
His painting today is the result of hard work and daily life, years of reflection on the possibilities of abstraction, on the most appropriate expression to his deep feelings. Having spent all filters pictorial experiments, the creator, born in 1956, arrived today at maturity by staying on track of his style. A dynamic, personal perseverance, and a result which is now the painter among the best performers in the family landscape "abstractisé" with its own language, in the context of European art.

I Part I - Approaches to the deeper meanings of the work of Bielen
Semantic content of the work;

1 - The confrontation between-Matter Universe and Nature

In the territory of abstraction Bielen operates today, with its cosmogonies landscape at the tip of the lineage of the great European landscape tradition. He successfully bridging the abstract landscape with the expression of a neo-symbolism.
"Between two worlds" hst 80x65cm 2008 - "Under the wing of the dragon" 2008 hst.40x80cm We will highlight in particular, throughout this aesthetic analysis of his work, the process that led to the painter this Bielen advanced in the art. With a unique pictorial interpretation of landscape, Bielen addresses both the distortion of the sign, shape or color. It explores the term schematic analytical elements of the plant, to stage a formulation Nature, in contrast with other cosmic. The painter set a new coherent and makes sense for other visions of abstract landscapes. Bielen in its treatment modernist and avant-garde landscape is pioneering a new encounter with nature. In an original approach he was able to unite, combine, elements
vegan closest to us and the most distant cosmic dimensions to develop a relationship, in dialogue, contradictions of meaning and sign, with the idea of tackling the deeper meaning of the original one hand and "finiteness" other. It marks out extreme creative curriculum landscape. As can be seen on the same painting a vision and a micro-macro-vision of Nature, when the floral wreath between contrast, in turbulent convergence, with the colors of light energy in the astral tumult. Layouts sometimes becoming finely painted graphic lines, to dishes, put into games distances and perspectives, Bielen transports us to the heart of a narrative that "transforms" the real to the abstract.

2 For the extremes of nature gesture landscaper Bielen has become abstract.

Bielen helps us to see, but also to understand what we know see that you can not see, and yet built the foundations of our remote past of consciousness. His work is a painting that would act back on space or time. He revisits the present. His act of painting before it caught, conquered, dominated, shapes and impressions from the confines of nature, to come and present it in an aestheticized vision. Reasons abound geometrized harmoniously, in a direction of jets soaring in openwork schematized in thin linearities in stems. Ribbed plots, leaf shapes, simplified, divided, grouped into assemblies, animate the foreground of the painting and make ground. Meticulously both constructed and deconstructed, such ambiguities raised in nearby raw, leafy these are a culmination of the earthly, the ultimate limits of naturalistic evolution in cosmological paradox of deep layers of the table.
In this dialogue between proximity and distance signs and meaning, between fusion generic initial magma and finishes the most fragile of Nature that Bielen us his research. His creative field investigates the dualism of absolute limits of the existing landscape, puts them into tonal resonances in thesis and antithesis narrative to produce an entirely abstract. He then exhales his paintings, these ambivalent, all feelings, all previous questions most of our humanity, we see the dawn of the mystery out of mind, to reach a strength of symbolism, spirituality. "The spirit of Basil" 2009 hst. 54x65cm - "suprema lex" 2008 hst.46x33cm (with black frame 69x81cm) - "D'jinn" 2005 hst. 38x46cm (73x81cm with black frame) -

I - 1 - The Abstraction of Landscape Bielen. Intuition of Nature, poetry and spirituality.

1 - Paint the tub and the synergy of the universe-matter in a state of landscape.

Permanent fusion and color of the material in its original state, until the highest form of links in Nature, the artist questions us, by evoking an allegorical elements of the floral kingdom fragmented. In contrast expressed meaning, signs of contrasts, contrast of eras, but the continuum, since time immemorial, Bielen painted the timeless path of evolution in fusion, combustion, to the accomplished nature, dipped in light plentiful hot and cold of the origins of the world.
"Suprema lex" 2008 hst.46x33cm (with black frame 69x81cm) - "D'jinn" 2005 hst. 38x46cm (73x81cm with black frame)
His profoundly European abstraction in the landscape reached an osmosis between "cosmicity" and spirituality in a positive translation. The artist has realized a formulation of alpha and omega, the genesis of the universe molten heading up a vegetable nature at our feet under our gaze of men. The tables Bielen date and then take note in the system of technical progress in the pictorial. They position the work in the course Bielen competing schools of abstract landscape other continents such as Asia or the United States. Semantic and semiotic constructions works Bielen, place it at the end of a diachronic which he reveals the news today.

2 - The Land lively and colorful Bielen.

It is apprehended by sensation and emotional impacts. By being able to make us accept a new terra incognita, following his intuition, Bielen generated in innovative mapping and marked the sign-meaning color-a different territory. Celeste, mineral, plant, cosmic mergers and high light. Each table brings the proposal of a balanced, or emulsion techniques colorists call a powerful grammar-color signs .... Arc-en-ciel, visions of ghosts, astral and stellar rotate and convulse in scenographies the luminous space. Out of all modes and at all times, the tables are Bielen status of this memory, the memory alive. "Materializing works both archaeological and avant-garde in the heart of our society to progress, technology, one of the essential bases of spirituality is non-cognition of the future ...
"Between two worlds" 80x65cm 2008 hst
In turn the plots and graphs delicate sheaves and branches, knots free strokes, lines, superimposed animated as signs of nature land, plant geometrical forms, which sometimes allegorical meaning other morphisms. Nature constructed and deconstructed, and then developed in bundles of rods radiating and managed by groups of fleeting shapes and furtive. Bielen marks the high point of a present, a "right here" before our eyes and give us hope, the ultimate vision of all beginnings and all ends with a new look.
"The Bonfire of the Vanities" in 2008 hst. 73x60cm (110x120 cm with black frame)

I - 2 - Bielen painted felt generic cosmic mystery in a new symbolism.

1 - New contemporary symbolism

By his work, which takes us to the sensations of a mystery hidden in nature, through the new territories logical cosmogonic Bielen opens an additional field research in symbolism.
Andrew Bielen has inwardly felt, consciousness, intuition of a transcendent mystery, buried deep within him, whose expression seems to come from the cosmic dawn of time. It expresses a resurgence in his paintings. Convinced of the correct leadership of his way, he travels in an otherwise unknown to us, but familiar to him. He was able to decipher the codes and riddles of sensitive visible. He offers his works in various aspects of this perception shamanic practically belongs to him. His aesthetic is expressed from the depths of the historical art of our continent, in a glance turned towards the ultimate limits, in harmony with the sublime "with" spirituality "with the" timelessness "as if It was originally included in its notions of painting, painting in his destiny. Bielen "amalgam" then in a sense "alchemical" anticipation and the future, existing and non-being, good and evil, lightness and strength, energy and nothingness, to confront the magma timeless and the ephemeral vegetation in a paradoxical coexistence, which expresses all the vagaries of mankind. Perpetual torment original symbolic fire, pride and humility branches of leaves of all sacred.
"The Bonfire of the Vanities" in 2008 hst. 73x60cm (110x120 cm with black frame)
"The spirit of Basil" 2009 hst. 54x65cm
We can not remain indifferent, neutral, doubtful, facing work Bielen, it is logically leads to accede to the fact that artistic product. Manufactured aesthetic osmosis Nature and spirituality, landscape and abstract symbolism. Bielen's painting does not need to win because it is there, omnipresent itself. This exceeds the prior-to, the tastes or modes. The painting becomes culture: "cultural". Innovative approach in its intentionality, became permanently indispensable today in contemporary art. The work of the artist, is a logical perceptual set on the canvas to reveal further, touching the mystery by his brush invisible, the impalpable essence of nature, to come by revealing that his paintings abstract landscape and Symbolism can join together in the same speech. That their language is a higher poetic fusion.

2 - In the existing being, of matter to mind.

This imaginary anecdote and color, the borders of a fantastic vision, remains a process of abstraction, a sensible representation dating from the deepest unconscious of the artist. An abstraction even stronger than an interpretation of reality, for here the expression-vision, speech, image, feeling of a real generic, based on substrates anthology of our memory of humanity. Painter foremost, Bielen, has succeeded in phasing set with the fundamental techniques of painting. This for us unveil the secrets of authentic and pure expression of the perfect performance on the canvas. It arises as an extension of the great tradition of pictorial exercise in order to bring a new term today, the synthesis of landscape, abstraction and symbolism classic.
"The spirit of Basil" 2009 hst. 54x65cm

I - 3 Sense Bielen's work as a social interface.

1 - Reality cultural work and the reference value in society.

Reason-image from the passion, reason, truth that emanates from the love of art. Paintings, paintings of reasonable balance, from a "truth" unavoidable aesthetic, which is demonstrated through an actual pictorial style. Not only works of art existing in the reality of a man, painter Bielen, but his painting is as essential to aesthetic and cultural reality. Reality of the work of art that is born into society and becomes part referring to the company. We may admit the European and international approach of this type of art, in the context of our European cultural heritage, to be positive and advance the art of abstract landscape. The painter of society to an existing design, it highlights a real culture by his act of painting. The viewer in turn, must learn to discern in this painting, in turn, its own references, those who also belong to our cultural birthplace in Europe in terms of abstract landscape. The tables show a progression Bielen, the expression of new criteria for defining artistic landscape.
"Fates" triptych hst.100x20x3 (triptych - 120x150cm black frame),
"Suprema lex" 2008 hst.46x33cm (with black frame 69x81cm)

2 - The spectator in front of the theoretical scope of the work of Bielen. The individual, society.

Leading up to the mysterious glowing in which infinities Bielen invites us interpretations of flow and energy troubling undertow, viewers can see as many fears arise, fear, anxiety, quickly ousted in favor of a wonder reassuring. The Colorist of Bielen then transmits a dynamic and vitalizing energy which includes the light. The oil painting, in its strength and sensuality allows Bielen, language and the means to broadcast publicly the most internalized felt deep in the unconscious of the artist. Unaware of the painter-medium that expresses the feelings of the collective unconscious. It produces images as much to re-situate the place of the spectator as an individual alone against the infinite. to feel that society and civilization their real contexts. A contemporary civilization faces through messages Bielen, at its own history, its future generations mirrored with the question of a future, the meaning of life.
"Fates" 2009 triptych hst.100x20x3 (triptych - with black frame 120x150cm)
"Suprema lex" 2008 hst.46x33cm (with black frame 69x81cm)
"The Bonfire of the Vanities" in 2008 hst. 73x60cm (110x120 cm with black frame)

II nd part - Semiotic Approach.
Content of the work in terms of signs and messages.

II - 1 - Technical aspects to achieving aesthetic of the work
Style Bielen

1 - The choice of oil painting on canvas (HST)

The oils on canvas Bielen take us through the work of the artist overlays gradual rise to a delicacy and sensuality, which come directly serve the artist's intentions. The cosmic beauty, transparency nuances, which is also the distance, give a possible light. The eye glides and floats to be hosted in "sfumati, gradients, shades of red, orange, yellow, to convey the heart and mind to the sensible and right evocation, the manifestation of strangeness cosmic origins of life. Bielen shows well in her work how life could have arisen structured chaos, a lot of none existing ... Bielen has direct and refine his technique in the service of his painterly intentions.
In its avant-garde, the painting technique of application choices pigment colorants, intuitions Bielen to translate a cosmology, reconnect with the parameters of pigment chemistry, concepts of transformation and transmutation, the vision of the celestial and unknown world of the old masters.
A technique oriented tonal authenticity, purified with the primary colors, proven in his studio for several years now enables Bielen getting light, which by means of oil paint become incandescent-based perpetual . Stories, intensities, brightness, and asked for our view that should never die out, in line with the expression of the cosmos abstractisé, landscape sidereal interpreted by Bielen. Unprecedented convergence that allows the oil painting and the painter dares. He succeeded, in terms of pigment applications, to use the pictorial field to express the sidereal, the mineral melts. Bielen restored by the core of the most noble of oil painting, created initially to represent the world around us, from plots of this world even pigments.
Bielen reminds us the origins and spiritual mimetic art, the purpose of painting in oil. Both through faithful reflection of the world, but in the modern way of securing expression of the most subtle sensations, emotions, the most ethereal, beyond the real.
Bielen had the intuition to produce depth by various layers that make up the surface, the sanitizing of the traces, to achieve an even sharper imaging of his imagination and reality. His painting on canvas rigorous application becomes a support of his fiction-truth. treats an abstraction of what exists in nature, outside of the visible human, beyond what exists by presence.
"The Bonfire of the Vanities" in 2008 hst. 73x60cm (110x120 cm with black frame)

2 - From the web at large built in table

From the canvas as key ingredient for creating, Bielen actually means dedicated his pictorial discourse. In the ways of expressing freedom, his palette firmly fixed to the ground writhing in colourism convinced the painter opened his own path towards the realization of his work tables. By "expressed" in finite sets constructed, each carrying a whole narrative. The painter convene the grand tradition of classical figuration for questioning and ask exceed the dimensions of abstract interpretation. It thus poses a dilemma to another topic, another frame, which will be the ambivalence of what is and is not.
The painter wanted his art mode of work-table, as all built as a set of artistic fulfillment, able to define and carry his message beyond the work's title, namely as an a fundamental aesthetic landscape abstract symbolism.
"Between two worlds" hst 80x65cm 2008 - "The Bonfire of the Vanities" in 2008 hst. 73x60cm (110x120 cm with black frame) "Under the wing of the dragon" hst.40x80cm 2008

- Methods: The methodology leads a fairly normal in the painter, from the first plan that can give us the representation finely and delicately drawn, or the geometrical manifestation of the vegetable. Herbaceous foliage and tracery vegans, are led by the artist with a real constructive meticulousness to be constants in the act of painting. These first shots lyrical and meaningful nature are there and are bridge to go beyond to the depth, size of distant. Bielen knows how to play well, the statement presentations to switch perspectives to the vision of infinity, he punctuates a light opening. The modality is referent in the implementation of the work. Cosmology and Nature messages become elements of construction. The works remain in force lyrical, poetic, and spiritual are escape Bielen's approach to the compositional technique. Each work has diversity, completeness and originality of a new vision specific.
- Titration: The artist expresses through carefully selected titles that are investigating, differentiate, identify the world around them, to redeploy without directivity, a true concept of strange landscapes and abstract. It expressly understand his personality, his propensities universal, both naturalistic and immaterial, spiritual symbolism. His titles are involved and this définition.Ils also offer entertainment scenic paintings. They convey his message in terms of aesthetic intentions and other produce abstract images from judicious extrapolations. Bielen able to break through the limits of his titles and the meaning of the sign and redefines the potential of the act evocative abstract landscape.
"On the jinn" 2005 hst. 38x46cm (73x81cm with black frame) "The spirit of basil" 2009 hst. 54x65cm - "Between two worlds" 2008 hst 80x65cm

II - 2 - In his paintings Bielen managed to force the paradox of architecture.

The comparison of patterns of nature and the cosmic space, built plans and movements of color, which produce naturalistic cosmologies Bielen master the rhythms.

1st - Architecture of a work that examines the size, distance.

Dimension of space-perspective, the most distant cosmic space, the plane nearest the ground vegan; This questioning of distance is both a painter in the search for signs and meaning between proximity and distance.
- First plans and patterns shaped graphic pictorial geometrized. On a logical composition of the work, one sees first in the vicinity; there in the foreground, the artist express neatly constructed forms, very graphic, slender. Palm leaves, our imagination is challenged so allusive, almost allegorical. These forms sometimes worked in their state or part-furnished, but are grouped into jets controlled to move toward a distant or otherwise the most central intensities. Shapes, patterns, marking a time to life, and the message instead. Built forms laid on the canvas in immediate visual elaborations fragmented, but included a whole bunch of foregrounds narrative, making sense of plant motifs.
- Colors, shapes and depths. The second plans, color sets of intensity or gradient, take us instantly into the deep field of painting, often a central part to the work, which culminates in the greatest intensity between the light projection in cosmic borders with greater force, by contrasts of color and meaning that we could head for the high light intensities, the heart structures. The technical plan is cons-controlled and it tips easily and quickly from grounds, geometrization and traced the borders of the canvas. The creepage colorful and bright, converge to make the prospect of expulsion.
- Clear and dark-shadows: light and dark shadows and enhance the luminous intensities of the central parts. Dark colors and shades darker, lie on the perimeter, or enter the overall construction, to highlight in its intensity, the most vivid colors. Strong contrasts of light and shade purposes, promote animation, complex movement, twisted, coiled, fields brighter.
- Intensities of lights. A high light intensity usually marks a central, main, of the work. An area the most intense light-colored signs calling convergence sense and expresses the most distant visible. A Beyond the work appears in the highest intensities of light, dominant white, the heart of the design. Other lines of leaks, always in motion these events, eddies, flow, colored spirals, are found around, inside, treatment of cosmic space.

2 - The palette of Bielen fire; By colourism worked on the power of light, Bielen in the abstract landscape had become master of the set of ultimate limits.

The tables Bielen respond to a logic control. The color scheme is adopted in the warm hues, often in the ranges of reds, oranges and yellows, sometimes the cool colors of blue and green are also involved; The white tone, may set the highest intensities. The primary colors worked, declined, giving a great variety while maintaining a visual unity to the whole work.
A range of fire and glow, in which the yellow and orange make us live version of upheaval, revolution sidereal, with a unique aesthetic power. The palette is very compact and gives a very personal coherence signal bigger picture. We immediately recognized the painting Bielen. Primary color transparencies declined in a visual sfumati translucent, have arisen from the technical color glaze bunk Bielen. Thin layers, sophisticated, with several consecutive drying, produce a great delicacy and luminosity, essential support to its abstractions.
"The Bonfire of the Vanities" in 2008 hst. 73x60cm (110x120 cm with black frame)
His tone, merged into a thousand incandescent, his glowing surround us and take us towards transcendence. Sometimes when entering into dialogue, yellow, bright red, contrasting with a blue, green, emerges a field of colored lights, like a long muffled scream, which echoes extends in all depths.
From the shattered form, deconstructed, reconstituted vegetable Bielen propels us into the confines of colorists burning or heat and mingle with shades shades diffuse, sometimes in violent colors, dazzling and dominant. Integrated synthesis of all the staining, all of cloudiness, energy colorists Bielen draw universal stories in which the voids are filled and harmonies, the existing voids and combine to tell us of other spiritualities beyond the " known ". The spirals cosmogonic Bielen confront the elements and colors, shapes and energies.
Bielen, with layers of subtle brightness and powerful built a new contemporary language of poetry and spirituality.
"On the jinn" 2005 hst. 38x46cm (73x81cm with black frame) - "The Bonfire of the Vanities" in 2008 hst. 73x60cm (110x120 cm with black frame) - "Between two worlds" hst 80x65cm 2008 - "The spirit of basil" 2009 hst. 54x65cm
Movement forms and tensioning of color - the visual impact. A grammar serves the dual purpose and meaning. Bielen has an inventory of forms, fix them, demarcate, detours carefully. His lyrical formulations, dyes can play to make the informal state of presence and meaning. Controlled distortions of shades and colors, pushed at the height of a movement-emulsion, and sometimes dizzying deep flows, produce in the viewer an unavoidable emotion. Upheaval, questioning his feelings inside, unspeakable question between real and unreal, lead the viewer into the territories of aesthetics atypical. A pictorial world which reveals the beautiful, once the ambiguities and unspoken exceeded. Last facing the viewer, the beauty of the painting Bielen is won by an understanding by everyone inside.
"The Bonfire of the Vanities" in 2008 hst. 73x60cm (110x120 cm with black frame) "Between two worlds" hst 80x65cm 2008 - "The spirit of basil" 2009 hst. 54x65cm

II - 3 - ignore Bielen redeploy the informal part of the cognitive.
1 - A real-time completion today of the European tradition of landscape. With rigorous logic of abstraction Bielen landscape offers the viewer the mysteries of Nature revealed.

Conclusion
Its grammar confrontation plans, semantic contrasts and oppositions, its ability to modulate levels of readability, the differentials in the possible meanings of the visible based paint in high-level strata of European art. This now poses Andre Bielen indisputable as the emergence of innovative talent in the contemporary life of art, in memory of this our existing European culture. The pictorial work can be considered belonging Bielen full title to the building construction of the new contemporary painting. Their personality makes them recognize the changing news landscape of our culture, in relation to our own European heritage, as in the case of paintings from other continents, Asia, USA, Africa ...
Bielen is mature neither too fast nor too slow, it has gradually drain composite elements of his universe and paradoxical language, for we offer them simultaneously with a consistent talent. This means that Andrew Bielen able to bring its research and work in a high-level control. It can have certainty about the validity and quality of his painting for the future, on the stabilization of his art and an evolution carrier. Realists, impressionists to the symbolists, through the Expressionists, over the decades and centuries, landscapers have the reputation of our European continent. Bielen dug a deep furrow current and avant-garde abstract painting landscape today. Her pictorial is specifically with the potential to become a powerful model in the international art world.

EDMC Editions Antoine Antolini, 2009

A presentation of works by Andre Bielen was made public in June and July 2009, at the exhibition of his paintings, medium and large sizes, Pole Exposure "Art and Culture Publishing museums and culture (EDMC) to Toulon (Var) held du15 June to 11 July 2009.
Exposure to Toulon (Var) June-July 2009 - "The Stylistics Bielen, catalog painter Andre Bielen © 2009 EDMC Editions
Text: Anthony Antolini, Editorial Director Publishing museums and culture EDMC - Association L. 1901 for the promotion and development of museum and art - Founded in 1993 -

EDMC -ALL RIGHTS RESERVED -2009

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Travaux de Recherche :

Etude sur " les configurations artistiques " et leurs relations avec l'imaginaire collectif, (inconscient collectif, archétypes et signifiant des formes et des couleurs...) 1996-97 Antolini
v Publication " Les Dômes-espaces et leurs concepts - Des équipements urbains originaux " 1995 - Antolini-Etude sur l'esthétique urbaine - grand format - 41 pages - Désign urbain et théories (c) - EDMC -Dépôt Légal 1995 - Bibliothèque Nationale de France, Paris - et ADAGP-Paris - (cette étude a fait l'objet d'un mémoire de Diplôme en Arts et Arts Appliqués ).

Publication " Le Linéarisme - Principes et fondements - Un nouveau concept pictural dans l'art moderne " 1998 - Antolini - Etude - Synthèse de Travaux de Recherche (c) EDMC - Dépôt Légal 1998 - Bibliothèque Nationale de France, Paris

Publication " L'Art abstrait - Concepts pour une évolution des théories de l'abstraction " - 1999 - Antolini - Ed. EDMC Dépôt Légal 2ème Trim 1999 - Bibliothèque Nationale de France, Paris - Nouvelle Edition 1er Trim. 2000

Publication - " De la systémique appliquée à l'esthétique " - 2000 -Antolini Article de recherche - Ed. Antolini. - Dépôt Légal Paris -2000

Publication : " THEORIE ARTOMETRIQUE ET ABSTRACTOMETRIQUE " © Antoine ANTOLINI, peintre - Edition Antolini - Dépôt légal Paris Décembre 2000

Emissions " Recherche et Formation ", sur Radio " Arc-en-ciel", radio diocésaine du Var - devenue R.C.F., " Radio Chrétienne de France " ; Emissions sur la peinture contemporaine réalisées par Christian Coulomb, ancien Universitaire.
Antoine Antolini à participé, comme invité principal, à une quarantaine d'émissions sur la peinture contemporaine. Plusieurs de ses toiles ont servi comme exemples stylistiques comparatifs et support technique d'explication, pour des émissions radiophoniques sur l'art abstrait.
Comme invité principal, Antoine Antolini, a présenté et commenté, lors de ces émissions, diverses recherches qu'il a effectuées en art contemporain et notamment :

1997
-" La Gestalt-Théorie ; théories de la forme et de la couleur appliquées à la peinture moderne "
-" Les révélations du cubisme : du cubisme analytique au cubisme
synthétique " I - " Le cubisme analytique " II - " Le cubisme synthétique "
-" La géométrique du trait et de la couleur chez Mondrian "
-" les techniques picturales du cubisme "
-" L'avant-garde de l'art contemporain aux Etats-Unis "

1998
-" Evolution de la représentation du sujet fixe vers la peinture de l'action dans le cubisme "
-" La relation entre le cubisme et le trait "
-" Le concept de linéarité en peinture contemporaine ".
-" Linéarité et réalité dans la peinture chinoise ancienne "
-" Volumes, perpective et modernité picturale "
-" la relation entre les concepts artistiques et la matérialité chez Tapiès ".
-" Esthétique des formes et des couleurs -équilibres et contrastes chez Poliakoff "

" Si l'œuvre d'art existe et peut permettre le repérage de la " démarche esthétique " au sens large dans le temps - chronologique - , sa " pluralité expressive ", relève du domaine intellectuel et diachronique - hors du temps - L'oeuvre peut être considérée comme un " certain degré d'expressivité " et " de concordance " entre la recherche, la volonté de l'esprit de l'artiste et la " matérialisation " finale . L'œuvre d'art - et c'est sa réelle dimension et sa portée universaliste - permet l'analyse transversale des différentes " périodes esthétiques " non seulement d'un artiste en tant que tel, mais également d'un artiste en tant que vecteur d'une esthétique sociétale "…
… " Si l'on regarde simplement et lucidement l'histoire de l'art contemporain que constatons-nous ? Le progrès de l'abstrait est plus rapide, moins " tâtonnant ", que le progrès du figuratif. Au delà de bonds en avant contemporains formels, provenant du surréalisme, de l'hyperréalisme américain ou du pop art qui constituent une évolution " de surface ", il y a eu une évolution plu lente et plus profonde de l'art figuratif au niveau de ses fondements. En fait si l'on examine les fondements conceptuels du figuratif, on peut établir qu'il évolue lui-même vers l'abstrait, et cela au travers, non seulement de la recherche coloriste sur des bases fauves, mais aussi par le développement de l'impressionnisme abstrait, qui a conduit et entraîné " la mutation du figuratif vers la figuration libre " de la toute nouvelle génération de peintres contemporains des décennies 1980 - 2OOO - De nos jours de nombreux peintres de figuration libre se considèrent abstraits - L'abstrait quant à lui, se développe en de multiples modalités picturales nouvelles, rénovantes. Cela bien au-delà des trajectoires très riches de l'informel ou du tachisme voire des monochromies ou des diverses formes de l'expressionnisme abstrait américain. Il évolue avec, par exemple, le matiérisme, le minimal art, comme en ces nouvelles formes " d'art abstrait spatial " que nous donnent à voir nombre d'installations contemporaines s'appuyant sur les matériaux les plus variés. Au niveau de la conception intellectuelle s'attachant à l'art contemporain, on peut dire qu'aujourd'hui l'art abstrait a surpassé l'art figuratif dans l'expression esthétique du monde, voire dans l'esthétique du réel d'une civilisation. Plus ces analyses porteront sur des " périodes esthétiques " éloignées dans l'espace et dans le temps, plus l'histoire de l'art pourra être approfondie avec une vision spatio-temporelle. "....

Il est important de savoir comment l'on crée... où l'on va et comment l'on peut évoluer, dans la réalisation d'une œuvre d'art .... Ces travaux de recherche m'ont permis d'établir des concepts, qui favoriseront , je pense, peut être modestement mais sûrement, un phasage actualisé et une progression, de la création contemporaine abstraite, partout ou des créateurs abstraits s'interrogent sur le devenir de leur art dans la société d'aujourd'hui. Il a été trop souvent dit que tout avait été fait dans l'abstrait... la plupart du temps par ceux-là même qui n'avaient jamais rien réalisé en abstrait. Il est temps que les créateurs abstraits démythifient la soi-disant " atteinte des limites " qu'on leur attribue, de pseudo-limites en fait. L'art n'a pas de fin, l'art contemporain abstrait n'a pas de limites intellectuelles ou techniques puisqu'il est spécifiquement création...Il n'appartient à personne d'assigner des clôtures historiques à la création, ou la considérer anéantie...nul ne peut enfermer, cantonner, l'abstrait dans un champ balisé, gradué... L'abstrait est intemporel, et par conséquent immortel... Nous peintres abstraits, sculpteurs, créateurs abstraits, connaissons la suffisance de ceux qui croient avoir tout vu et qui , en réalité, n'ont encore rien vu ... et qui n'ont qu'une infime parcelle de connaissance de l'art abstrait. Puisse, en ce sens, également, le présent essai remettre un peu les pendules à l'heure... Les voies de l'abstrait

a) La nuance entre poétique, expression picturale contemporaine et abstraction... Il y a une place spécifiquement particulière du poétique dans la peinture contemporaine en général. En fait la question fondamentale, qui peut se poser avec la poésie exprimée dans la peinture contemporaine est l'art abstrait précisément est la suivante :
- " doit-on parler d'abstraction chaque fois que l'on parle de poésie, au prétexte que la poésie n'est pas le réel ? "....
Il y a, en effet, diverses approches bien différentes en art moderne traduisant le rêve et le réel. Diverses approches picturales existent pour situer l'expression dans un rapport entre le rêve, la poésie, et le figuratif, ou l'abstrait. Le rêve, dans son expression picturale plus traditionnellement " figurative " s'est abondamment exprimé au travers du " surréalisme "... La démarche d'expression du " poétique " existe aussi dans l'abstrait (l'abstrait poétique ou lyrique) . Toutefois, dans une certaine mesure cette forme d'expression du rêve, s'exprimera dans l'abstrait en une retransposition beaucoup plus complexe et donc beaucoup plus originale, mais peut être plus difficilement " lisible " me semble-t-il. Cette modalité particulière du poétique qui appartient à l'abstrait nous la découvrirons dans cette étude avec des éclairages nouveaux. Elle procède d'autres mécanismes psychologiques, d'un autre " entendement artistique " , distincts de ceux qui engendrent la démarche figurative ou surréaliste....

b) Le rôle de la thématique dans le poétique en général.
L'on pourrait aisément ressentir aux limites extrêmes de la peinture poétique dite figurative une certaine forme d'abstraction complexe, au niveau d'un sens original du traitement poétique primaire du réel sans que l'on puisse parler de surréalisme pictural... ( cas d'œuvres de Chagall par exemple, peintre non abstrait). En cette hypothèse l'approche de Chagall pourrait s'identifier, se lire, comme un traitement poétique pur du sujet ou du thème. Son approche ne pourrait échapper à une certaine " modalité d'abstraction " d'une certaine façon. Si ce n'est par rapport au figuratif en tant que tel - qui demeure pourtant à un niveau plus ou moins puissant - çà le sera au niveau thématique par rapport à la réalité, par rapport au normatif, " aux normes du cognitif dans l'expression d'un signifiant vrai "... Cette approche toutefois sait rester à distance du surréalisme avec cette merveilleuse manière de garder les pieds dans le figuratif. Néanmoins l'on voit dans ce cas comment le figuratif pictural poétique peut pénétrer dans le champ de l'abstraction, par le traitement intellectuel et technique de la thématique; Nous verrons qu'inversement le traitement initial en abstraction, pourra intégrer, retransposer du figuratif intellectuellement et techniquement également ; cas du " paysagisme abstrait urbain "....

La peinture sera poésie lorsqu'elle se voudra création poétique...
La peinture est poésie au sens général ou elle est création artistique, mais surtout parce qu'elle peut, comme la poésie, être une expression sublimée de la sémantique, du cognitif. En son expression abstraite, la peinture peut rester une expression sublimée, plus ou moins distanciée du conventionnel, de la sémantique, du figuratif, en un rapport original avec le poétique... La peinture en tant que telle, plus généralement, pourra être " poésie ", bonne ou mauvaise, plaisante ou déplaisante, belle et/ou dérangeante, lorsqu'elle recherche, traduit le monde intérieur du peintre, le monde extérieur tel que le voit le peintre. L'expression si elle n'est certes pas réalisée au moyen du verbe, n'en demeure pas moins efficiente au moyen préféré de la " forme " et de la " couleur " , telle la " phrase " et le " ton "... Si la peinture est faite par des poètes, elle sera le reflet de leur état d'âme dans certains cas ; mais elle exprimera aussi très souvent une certaine vision du monde à travers cette poésie.
...
En abstrait, plus l'union se fait entre des significations encore plus distantes les unes des autres, plus la peinture sera puissante en termes d'abstraction. Le signifiant en sera d'autant plus transcendé. Voila pourquoi je trouve intéressante la peinture abstraite primaire, brute, le non-figuratif .
En réalisant une œuvre abstraite, un créateur contemporain peut ressentir que la poésie le dépasse, le guide sur son chemin ; il ouvrira la voie d'une réponse à un besoin profond, artistique, abstrait, poétique, et vivra la réalisation de son oeuvre comme un poète écrit un poème, avec simplement des formes, des couleurs, à la place des mots...Son abstraction pourra avoir une relation plus conventionnelle avec le figuratif...à partir du moment ou le langage abstrait s'appuiera sur une sémantique, sur une convention cognitive "…