Page 154 - THELIN
P. 154

APPROACHES by Philippe Thélin


          “ A painter is lost when he finds himself.” Max Ernst       The close attention to observation, the

                                                                      sense of composition, the juxtaposition of


                                                                      complementary colours, the drawing by


           Painting is a silent act. It means for me                  the colour, colour as a vibration, my own


           expressing internal conflicts and not                      eruptive ecstasy, vagueness or precision, the


           considering real life’s illusions nor the                  wanted clumsiness or the delicate stroke of


           evolution of our society. My work is lyrical               the brush on the canvas are as a whole my

           and would tend to succeed in exorcising                    working tools.


           ghosts of yesteryear and buried recollections


           in order to give them a new life through the               Erotomaniac by the colour, satirist by the

           colour’s vibration, by means of thick and                  drawing, I confusedly search for a mad


           violent strokes.                                           excitation that would deliver me from the


                                                                      inner sluggishness because the good fortune


           Painting is to struggle with the outline of                of painting has a deep complicity with a


           the drawing against the spread of colours,                 flashing form of madness, of excess, which

           it means drawing straight into the paint to                allows encounters in the innermost being.


           confer it edginess and swiftness. The subject


           itself is of minor importance. To scratch, to              As for me, absolute references are for

           trace, to burst, to spread, to mix, to throw,              example Frans Hals, Caravage, Rembrandt,


           to erase, to strike out, to gloss, to veil, to             Rubens, Goya, Manet, Berthe Morisot, Van


           soil, to finger-paint and knife-paint, all these           Gogh, Anders Zorn, Singer Sargent, Lovis


           express the un-mastered violence of that                   Corinth, Munch, Matisse, Kirchner, Boldini,


           hand-to-hand fight.                                        Sorolla, Manguin or else Soutine, de Kooning,





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