Gérard Garouste, Colette Deblé, Georges Rousse, Geneviève Asse, Martial Raysse, Christian Jaccard, Joël Kermarrec, Danièle Perronne, Daniel Dezeuze, Philippe Favier, Daniel Nadaud: after the 11 essays of Contemporary French artwork 1, dedicated to significant artists from Ben Vautier and Niki de Saint Phalle to Annette Messager and Gérard Titus-Carmel, the current quantity pursues its interrogations of the what, the how and the why of up to date plastic creation of a few of France's most interesting practitioners. If, as ever, such creation can demonstrate components of an interweaving of individualized preoccupations and modes, unending specificities demarcate and confirm originalities that natural conception and its leveling anonymity may perhaps vague. hence is it that Gérard Garouste is by myself in that obsession with 'indianness' and 'classicalness'; that Colette Deblé's gesture is drawn implacably to the unseenness of girl illustration; that Georges Rousse plunges images into the area of matter's poetic sacredness; that Geneviève Asse traverses a natural seemingness of abstraction to realize to an intimacy of silence; that Martial Raysse's 'hygiene of vision' may well without end renew and hybridize itself. Christian Jaccard, too, will discover with specialty an artwork of materiality on the frontier of metaphysics; Joël Kermarrec will supply us the inimitable beautiful lines of surging wish and deception; Danièle Perronne's bins and stringings, her work and her sheetings will spread a psychic infinity on the center of shape. And, if Daniel Dezeuze seeks namelessness and natural structuration, the latter but surge forth through works that relentlessly establish a gesture so far away, we may possibly believe, from the immediately sobering and ceremonial microproliferations of a Philippe Favier or the annoying yet genial articulations of Daniel Nadaud's sculptural mind's eye.
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This, I may still retain, is crucial to our additional appreciation of the earliest works the place subject and void, presence and lack, weave an indivisible plastic cloth. ‘Before a portray, Daniel Dezeuze will inform Jacques Beauffet, we see being (substance) however it is actually non-being that gazes upon us. ’ this isn't where to plunge right into a complete ontological dialogue of this sort of assertion. i have to content material myself with insisting upon the but the most important interpertinencies of one. Dezeuze’s avowed wish to ‘preserve [in my paintings] mystical adventure with none indebtedness to a couple type of transcendence’; 2. his view that void, vacancy, isn't really ‘inert’, yet ‘an lively principle’, this not just in simply visible phrases, yet implicitly, spiritually, in but the main open experience of the note: that that is to do with the beingness of what's noticeable; three. this beingness, equated – so much mystically, in addition – with non-being, urges upon us a profound revision of the character of subject, ‘support’ and ‘surface’, that of a physicist-cum-mystic and who sees in his plastic doing the fullest of epistemological implications. As I finish this research of an oeuvre whose preliminary subtleties develop into more and more appear because it unfolds into these comparable ‘others’ which are the richly different yet built-in works of Daniel Dezeuze’s image – and poetic – modes, I may still wish to provide a couple of unavoidably compact comments at the motivations of his démarche. the 1st of those needs to privilege Dezeuze’s wish to discover the mostly ignored value of subject within the artwork of portray, however it is an exploration that, from the outset, overflows any in basic terms aesthetic issues, realizing the inseparableness of the visible and the unseen, topic and ‘void’, being and non-being. in lots of respects, as Christian Prigent has rightly famous, Dezeuze’s paintings seeks now not quite a bit in any respect to supply works – with their implicit status and seeming permanence Structure and Aeration, Freedom and the Unnameable: Daniel Dezeuze 181 – as to event, and meditate and play with, the ‘energy that involves us from the unnameable genuine which [in flip] fees us with returning it to itself’. If early paintings reminiscent of that interested by the Coaraze collective exhibition issues to a wish to deconstruct the competition among tradition and nature, to function an ‘epistemological rupture’ portray had hitherto refused – and, in sweeter phrases, both Dezeuze’s, convey a ‘breath of clean air’ to painting’s stuffy enclave –, such deconstruction will proceed not just via works equivalent to the Objets de cueillette and Réceptacles, yet correct into los angeles Vie amoureuse des plantes and, in fact, Grotesques (somewhere among Redon’s early nightmarish penetrations into his personal psyche and paintings via, say, Twombly) or the 2006 Échelle avec poids (with its heightened finesse yet, too, its connotations of uncomplicated labour and fixing). And, regardless of the preliminary and made up our minds flurry of idea and sociopolitical ideologisations – and, in fact, Daniel Dezeuze continues to be, just like the poetphilosopher Michel Deguy, disinclined, competently so, to renounce pondering heavily approximately his personal, and others’, doing5 – Dezeuze seeks ever to privilege paintings over idea, the latter, as Pierre Reverdy as soon as remarked, wanting to come back afterwards, now not as an intellectualising formulation or thesis.