Bruno Perramant
09 Sep - 16 Oct 2010
BRUNO PERRAMANT
“Les couleurs, la guerre”
09.09 / 16.10, 2010
“So rare is the happy man nowadays that he must explain his sentiment: he talks about color to the blind” Jean Paul Sartre 1940
“A year ago I was dropped behind enemy lines, where I lived several lives. It’s a world of disturbing and enlightening banality, where outcasts of nature survive beyond which everything else—under cover of pretence—is bound for the front. The enemy is death.”
Bruno Perramant’s fifth one man show at the gallery Les couleurs, la guerre presents a score of paintings made in the last two years. As always, it’s an experiment, and even more so this time since the work seems to foretell and expose a life whose own risks merge with the elements of painting. Without revealing an autobiography that there is no reason to know, each painting is nonetheless linked to the experience of the artist simultaneously engrossed in his work, the effects of his exploration into color and portrayal, and the journey of his existence.
Remarkable continuity is visible throughout the cycle of transformation and time. It is easy to see the evolution of ghostly forms or recurrences from the Re. Noir exhibition. The theme of the painter becomes a central figure of this exhibition through diverse portraits ( Re: noir, bleu, vert, jaune, Portrait de l’artiste au sac de riz, Portrait de l’artiste au sac fleuri, etc.). That goes too for color and light which have evolved into sometimes classic and sometimes surprising combinations. These constantly interrelated and renewed offerings reveal the artist’s journey across what he admits to loving immoderately: painting. As such, war is understood as taking a stand against “the negative, death, the disenchantment of junky parasites, somber tedium, deliberate obscurity, red octopus, inflexibility, good conscience as the mother of all evil, covert hypocrisy, not breaking the rules, deliberate disregard, sophistry, the destruction of nature, etc.”
An illuminated forest, only penetrable by light, nel mezzo del camin, beckons and hinders; a staircase that we don’t know if we should take up or down; four colored horses called Paradis: these are the essential “theme” for the artist, like the constant transformation involved at each step along the way. Le dernier rêve, Pasolini, Monroe are ultimate examples of this astounding voyage from disaster to miracle, from life to death, and also an ironic reply from the artist to those who call his work Pop.
“Les couleurs, la guerre”
09.09 / 16.10, 2010
“So rare is the happy man nowadays that he must explain his sentiment: he talks about color to the blind” Jean Paul Sartre 1940
“A year ago I was dropped behind enemy lines, where I lived several lives. It’s a world of disturbing and enlightening banality, where outcasts of nature survive beyond which everything else—under cover of pretence—is bound for the front. The enemy is death.”
Bruno Perramant’s fifth one man show at the gallery Les couleurs, la guerre presents a score of paintings made in the last two years. As always, it’s an experiment, and even more so this time since the work seems to foretell and expose a life whose own risks merge with the elements of painting. Without revealing an autobiography that there is no reason to know, each painting is nonetheless linked to the experience of the artist simultaneously engrossed in his work, the effects of his exploration into color and portrayal, and the journey of his existence.
Remarkable continuity is visible throughout the cycle of transformation and time. It is easy to see the evolution of ghostly forms or recurrences from the Re. Noir exhibition. The theme of the painter becomes a central figure of this exhibition through diverse portraits ( Re: noir, bleu, vert, jaune, Portrait de l’artiste au sac de riz, Portrait de l’artiste au sac fleuri, etc.). That goes too for color and light which have evolved into sometimes classic and sometimes surprising combinations. These constantly interrelated and renewed offerings reveal the artist’s journey across what he admits to loving immoderately: painting. As such, war is understood as taking a stand against “the negative, death, the disenchantment of junky parasites, somber tedium, deliberate obscurity, red octopus, inflexibility, good conscience as the mother of all evil, covert hypocrisy, not breaking the rules, deliberate disregard, sophistry, the destruction of nature, etc.”
An illuminated forest, only penetrable by light, nel mezzo del camin, beckons and hinders; a staircase that we don’t know if we should take up or down; four colored horses called Paradis: these are the essential “theme” for the artist, like the constant transformation involved at each step along the way. Le dernier rêve, Pasolini, Monroe are ultimate examples of this astounding voyage from disaster to miracle, from life to death, and also an ironic reply from the artist to those who call his work Pop.