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Temptation of a definition... The paint broke, from 1914, the taboo of the sacrosanct icon with Malevitch, who was the first one to dare to paint " a groundless image ", inventing there even a total and monochrome paint. If this Rubicon was irreparable, far from enclosing a field, it opened, on the contrary, the way at the uncountable monochrome variations. The Americans brought it a masterful addition, after war, by going as far as deleting the track of "to make", better known under the word "to colour field ", that is a surface was colored without visible track of bows. Jean-Jacques Bauweraerts, deserving heir of this minimalist combination, works at the same moment the monochromatic field while cultivating the absence of picturesque tracks and his underlying feelings. More than an essential paint, its work accumulates simultaneously simple geometrical forms (square, triangle, rectangle) and their supports (frame) so playing on the colored surface, to connect it and the shadows inherent to this one. Three quarters of century later Malevitch, Jean-Jacques Bauweraerts proves that we can subtly - in a formal register which is not stretchable in the infinity - paint the invisible, suggest the unspeakable and carry the act to paint a little beyond.
Den Durant, in July, 1990
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