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-------------------------------------------------------------------------------------------------------- Eric CHESNEAU


THe Artist :

« Abstraction is crucial to our reality, it seems an important thing to me to be confronted to the universe – even for a short moment to perceive the immensity of our interiority. To forget why we do, we see and merely listen to one’s resounding to the sensitive world… »

A Glance of J. P. Gavard-Perret :

There is a paradox in the abstraction of Eric Addison: it is as if being unable to hide behind an absolute invisibility, he took refuge in its approach, the relative invisibility of fragmented images, necessarily fragmentary .

The artist does this decline probably not: it is imposed by the whiteness of the canvas whose still not what survives as a kind of expulsion, return of the material. Remain as fragments that can become opaque to undermine the intensity of white. However, the disproportion of forces seems to be such that there can be no question of a reversal of the painter and cover all of his paintings.
The first is to delay the deadline of white. The painting becomes the resistance to the resistance to what is white when it comes out. Emerges although bits of sail, but a veil that reveals and through which a limitless infinite show themselves, images of a vast existential disaster that must try to save what can be done before the White falls in its invisibility first. Work or rather the struggle Chesneau allows the unexpected to occur under the guise of "insignificance" against the dazzling whiteness of central reality that the naked support. And so what remains is the order of the scarf, such a presence has nothing to do with the minimalists greedy neutrality and abstraction which is an abrasive. The forms here tremble, become porous, they are kinds of stumbling blocks on which the eye can rest. Emerge as a result of mutation and effect of an imaginary infinity but only unfolds in pieces on the surface. They are spreading, despite the difficulty to extend, by operation of drive. The question remains, in the journey of a particular artist, they will become. They will soon perhaps not expand, grow, invade and progressively through the white space. But what is fascinating about this work in progress, primarily attributed to the battle mentioned above that the book painter. The artist is in front of the white expanse that sort of vital sighs float to the surface. One imagines the conflicting forces that compete in the job and then to approach the media. Do not banning black (instead), Addison finds a way of drawing as a trace of the first voluntary act that manages to make that stand. Remains that such an existential approach to painting also reveals the depth in the paintings by the artist. The few items that have been painted and are pulled to nothingness offer viewers the possibility of expansion. We are entered in a register of the outbreak. The painted elements become both beams and cracks "in"the white background. That is why such a picture gives us the feeling of being paradoxically familiar and foreign: the infinite seemed to stay in the finite order that is unspeakable and made an invisible show.

Text : JP Gavard-Perret, Doctor of Letter, teaches at the University of Savoie (Chambery). Member of the Research Center Imagination and Creativity, is a specialist in contemporary image and art critic. JP Paul Gavard-Perret pursuing a literary and artistic reflection punctuated already twenty books and collaborated on many magazines..------------------------------------------------------------------------------------

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