I’ve came to a decision of painting the intimate garden spaces. The moste intimate ones are flower-pots and vases – isn’t it? Therefore I paint those I possess. The first attempt dates back to 2010 when I painted a big canvas which as for object plants growing in the bathroom of my Parisian apartment.
“For we brought nothing into this world: and certainly we can carry nothing out.” I – Tim 6:7
Popular as no other spiritual originated theme in painting (but may be charity) appears Vanity and contemporary society loves this ‘cutest of sins’ more than any other one to reflex it’s feeling about existence. I love vanity in it’s purest appearence washed out of pride and egoism, and jelousy and arogance, I prefer to look on it not as one of sins but rather as one of passions. All art besides being artificial is vain and all honest and intelligent artist must asume the fact that art and creation itself is an act led by nothing than vanity and the desire to give an ego or at least a part of it the possibility of existence outside one’s proper being. Nothing but a search for being admired outside of creator’s person in creation – hence a wish of being admired not once as a being but twice as a being and as a creator through own creation is what makes all artist an perfect vanity adept and nothing but him. If all is vain and all is but vainty, art is a most beautiful example of this neverending incorrigible vanity of humanity. Think of death and enjoy the present day!
Kingdom of Flora, so fascinating, inspiring artists since millennia is a welcoming theme to explore in contemporary creations even if floral motives may seem quiet old fashioned today. Not only Takashi Murakami’s psychadelic flower explosions or Don Sultan’s minimalistic compositions witness how the painters interprete their curiosity about plants.
If it’s by interest in flowers in bloom or in fruits, the message interpreted by floral compositions in art can be divers: a ‘memento mori’ in vanity paintings such as marterfully composed arrangements of Dutch painters from Velvet Breughel to Van Gogh or ‘joie de vivre’ themed works of Monet and Georgia O’Keeffe. Painters all have one thing in common: curiousity about quiet life of of leaves and petals, richness of forms and colours one is ready to admire better on painting that in nature – but this is a story about human unsatisfaction with natural and fascination by artificial.
Vegetal compositions in art can also be the source of narrative tendencies and may become a story teller or at least to help the artist in developping a story or to creat a mystery within his painting. You may wanter about summer vacations memories (who’s and from where?) in Peter Doig’s painting or about who put the Watering can in here in my work >>les Plantes<< and try to figure out how it is that we see all elements from above but there is no sign of observer’s (our) feet captured here:
Of course flowers can be only, as mainly used, a simple ornament decorating ancient egyptian tomb, pompeian villa or contemporary loft. In >Lotus Flowers< I worked on five cavases of the same size, the life of a flower from it’s bloom to past blossom just to show what different states if blooming of sacred lotus look like.