The whole and the part, by Rémy Romain

The whole and the part, by Rémy Romain

voir l’original en français …

« Every substance is like a whole world and as a mirror of God or of the universe, which it expresses in its own way. » Leibniz Essays of Theodicy

If the world were insular … One could indeed assume that the world is made up of islands of singularity perfectly autonomous, which offer a vision always particular on the whole. Old Leibniz’s dream where the monad would contain the world in a mirror.

The picture confronts us with this hypothesis, it is a matter of reconstructing the world or what remains of it through the multiplicity of its parts and fragments. Moreover, it would be fruitful to pursue the metaphor of the Leibniz’s worlds, for here the layers of painting designate perfectly autonomous zones and spaces which adjoin each other and which sometimes meet without actually communicating. The world is constituted in atoms, in pieces of space-time without solution of continuity. In the irregular trellis of these forms, however, there appear zones and stains which are thorough, but which seem devoid of direction or purpose. The places are side by side, they are probably expressed, but they offer no bridge, no intermediary. The colors try to contaminate, the black and the opacity to cover the freedom of colors, but nothing does, not the horizon of a meaning.
As for verticality and horizontality, they do not draw any geometrical space that holds. No « pattern » here, a project that would solve the riddle. The colors and the pictorial pastes hold but for themselves. One can in fact guess objects, shapeless beings, sometimes the massive head of an animal, which could be akin to a bust. But forms do not hold, at least they do not merge in a setting that would give them a certain coherence. The background is neutral, practically absent. We have definitely plunged into the solitude of the signs, the objects have relieved themselves of their signified.

And yet the solution is not to be sought from the side of metaphysics. It is the matter of colors that wants to have the last word. To look at a world seems to arise on the left. In a kind of lateral movement too much supported, a landscape with the green liquidity seems to appear, perhaps an old building attached to a mass of cypresses. Phenomenon highly paradoxical, the more one plunges in the part, the more the whole gains solidity. These seemingly juxtaposed forms metonymically draw a more global narrative. The Cézanian green indirectly contaminates the other parts of the painting. And suddenly it is a wave that comes alive, figures with acute busts set in motion. The islands of sense and flesh communicate, always riveted to their singularity but in a concert that begins to produce meaning. The picture and the images are suddenly endowed with a strange musicality, taken in crowd these phenomena of the visible acquire another youth. The tour de force of this work then becomes transparent, it is by the confrontation of these sensitive spaces that a continuum arises. But perhaps it would be necessary to touch the materials and the pigment of the painting to better grasp the sensory disorder? Reason and analysis must abdicate and it is a duty to plunge into the picture, to be one with those multiple souls of the world that are waiting for us. The solitude of signs then becomes a promise, a call of the plurality of worlds to our listening. And if the infinity of the universe were contained in a shell of nuts ?

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