Jean Pierre Lihou
Plastician
1963. As a student in philosophy in university I learned in pathology
that human being is potentially multiform: He is free, according to his
real life, for all the Pathos adventures. Therefore, I concluded that the
same is for Eros. So, a creator should be potentially multifaced. I glimpsed
that the style unity that we ascribe so much to the genious personality
of the artists is nothing else that a gift-ideology avatar, which is consequently
a system of representations for monotheism and any form of centralised politic
power.
The intentions, the subject and the function which do determine the shaping
choices.
Therefore I decided to adapt the genres, the disciplines and the forms of
my pictural activities to the need of the meanings, without anymore concern
about stylistic unity.
This decision will lead my multiforms arborescents and contradictory creations.
Cultural decompartmentalization.
1964/66. I was a young art assitant teacher in a secondary school, with
some teaching french additional hours. The principal autorized me for 6th
and 5th classes to combine french and art teaching together in same lessons:
Vocabulary study during graphic representation classes alternate with exercices
in which pupils train to realise classical theater in cartoon.
These experiments drawed my attention to interdisciplinaries complementaries
interest and to the necessity of cultural crossing to the enrichment of
knowledges. We must remember that in these days the university consensus
was in contrary to develop hyperspecialization.
Cultural equipment management.
1969/71. I am the director of a cultural institution that I have to
pull up from bad previous situation. After ameliorate programming and reorganize
association life, I had to assert this institution in local mentalities
and habits. From a recent census, I organized a communication strategy segmented
in population quarters, ages and activities categories. This was to adapt
the messages very precisly. As people coming to participate to association
life was increasing, it was then possibles to organize research sessions
to prepare together the subjects of the activities. For these sessions I
did adapt to need of large groups brainstorming creativity methods. So the
programming of the activities has been choosed with an enlarged participating
population.
These experiences prepared me to conceive later on the shared creation
as a new creative method.
Homo erectus fabricans.
1976/86. As an artist its happen that I work as a communication expert
for companies. The relations with some deciders gave me to discover that
their mind processes look much the same as those of artists. The difference
is only in the material-support. The supposed specificity of the artist
creative process does not resist to other creative process observation.
All these conception and action processes make that everyone erects his
abilities to think events while he develop his abilities to shape what he
thinks.
From these noting I began to talk about "Homo erectus fabricans".
Heracles saga.
1983/86. I conceive a computer game project in which the player, Heracles,
is always confronted witg the gods who govern the events, according to the
nature of his actions. The study of greek mythology to definite the content
of this game made me discover how much it was through a narrative the sublimate
refelect of ancient real daily life acts.
Behind this lesson of the past appears the question on the contents that
we write on our actual daily life. Is this sublimate narration still necessary,
if yes what expression have we to give to it, on which supports ? And what
could be for that the role of plastician art.
Day to day life archeography.
1988/96. It is a pictural experience that I developped with the oppotunities
of new multimedia computer technologies. They permit me to put in my computer
video sequences, or photos and to process them to study the organization
of painting or sculpture projects. This particular interest of this technique
is that, for the first time, I could create from experiences which had been
lived by other persons, and I was therefore able to interprate what concerned
them.
It is a shared sensitivity, based on dialog, in which as an artist I do
not take the center of the creative space. In this case I am an actor who
make signs with feelings that do not belong to me but that I absorb the
content to conceive plastical answer to a communication need.
IMAGIQUES
Images free from royalties /
Sculpture / Pottery / Furniture
/ Graphic design / Funeral
art /
Key-words / Computer
moving / Remarks
about.../
How to command a creation
/
Shared creation / Day
to day archeography /
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