Enjoyment belongs to the observer who earns it.
Remedy for tired and image-saturated eyes.
Look with our fingertips.
Tactile paintings and sculptures require the observer
to attentively follow a scrupulous physical and cultural approach and contact
with the works.
An observer in a hurry,
rushing down the highway of his certitudes,
following his rigid landmarks,
will necessarily miss the essential.
These works are designed for the "thought walker",
making chance encounters,
as he strolls along discrete paths,
allowing himself time to look without pre-judgement.
Tactile paintings and sculptures surprise us even in our blindness.
They suggest that we must always look further,
with even more precise attention and sensibility,
beyond predefined opaque cultural filters
and definite ideological diagrams.
The tactile paintings and sculptures escape mediatisation.
They are impossible to reproduce in their totality.
They are conceived to divuldge their subject
only in the secret intimacy of each encounter.
Tactile sculptures.
The discovery of touch.
These are boxes
which shut up objects and pictorial elements
that we discover by puting our hands inside boxes,
without seeing.
In addition, their subjects require an effort of cultural knowledge.
Ninsikala, Belet-lli, and The Tabernacle of Wisdom
are inspired by the Sumerian legends.
These ancient stories were overshadowed
by the judeo-christian cultures.
These paintings are ready-made "thought traps".
At "first sight",
they have the aspect of paintings of a pompous and rather banal classical
nature.
If we are satisfied with this observation, we will obtain nothing else.
And many have been caught,
in paritcular the so-called "specialists" of contemporary art!
But if the observer adopts an approach
by the body and the spirit, he will discover that:
The essential elements are scattered throughout
the entire work and not concentrated at the center;
or that the perspective diverges into an elongated format of the painting;
or that the values of the colors are so close that they mix together absorbing
all detail;
or finally that the subject is so small that one needs a magnifying glass
to see it.
In each case,
the interpretation misleads in regard to the codes and in regard to the
construction.
I did my first tactile sculpture in 1965.
It was a box built like a table.
Because of judo accidents, I had to undergo an operation which
resulted in my staying under anesthesia several days.
My sight was no longer operational.
I was "blind" for 3 days.
Enough time to discover the value of touch.
After this involuntary experiment, I made my first tactile sculpture.
During the next 30 years, I no longer took an interest in the question.
But, now,
the supremacy of the media ideology,
which leads us to believe that everything is instantly available
and that it is necessary to say everything immediately,
as well as the developement of ideological fundamentalisms,
whether they be cultural or religious,
which constitute a dangerous offensive of overshadowing,
brought me to reconsider the subject of touch
under the aspect of generalized non-sightedness.
This incited me to formulate as a game a critisism
of these contemporary phenomenon
which handicap our development as human being.
IMAGIQUES
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Sculpture / Pottery / Furniture
/ Graphic design / Funeral art
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Key-words / Computer moving / Remarks about.../
How to command a creation
/
Shared creation / Day to day
archeography /
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