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Michel Picouet Paintings
Born on 27th March 1949.
I studied Phsychology and civilisation and English literature at The Sorbonne.
Artist's Statement:
Inversionism - Manifest text by Gérald GASSIOT-TALABOT,1995 Paris. The color crossed the century since the impressionist fireworks, with various problems, often opposite, and while answering extremely different and composite behaviors. It was used in an empirical and sensual way by Monet and its friends, in lyric swirls by Van Gogh, saturation by with-dishes, with Gauguin, and then, by alternation, in a voluntarist and scientific way with the pointillism, the suprematism Mondrian, the geometric abstraction and the theory of Herbin, but more generally in spontaneous, free and wild applications (fauvism, expressionnism, lyric abstraction, monochromy).In all these cases, the dividing line separates retinal perception, the optical effect, the chromatic reports/ratios, on the one hand, of pure colouring, the gestural effusionnist and the pigmentary tablecloths, on the other hand.It is singular that Michel Picouet does not belong to any of these two families. If it recognizes obviously its debt with the impressionists, it does not seek to create an optical mixture by tasks separated on the table, nor to call upon complementary to obtain a synthetic perception. He is not either the painter of the colors assénées arbitrarily to answer an emotion, a viscerality, a setting in question of the world.Its manner of proceeding, the inversionnism, indicates well that the complementary colors which are used in landscapes, for example, are systematic installations, concerted acts. But the goal is not to obtain initially an aesthetic effect, a chromatic harmony, but to question the luminous energy contained in the white and absorptive by the color of each object in this landscape (tree, house, water level, etc...)It is thus this energy, opposite of the visible color, which is restored on the table, thus revealing in inside of the things, the vital and spiritual force of creation.The range of the colors that PICOUET sets up, even if it acts of a deduced fitting, of an automatic designation, does not only prohibit, by the opposite play of the values, by the regulation of the hidden forces, the setting at the day of what was occulted, a new harmony occurs, without arbitrary subjective choices. A balance and a different need are established, the dynamics of the absorptive forces and constraints bursts and controls a world which is an addition of subtractions, a restitution of the spectral plenitude of the sun, a primacy to be hidden it on appearing it and the surface obviousness.PICOUET gives its personal advance which, on the basis of the great intuitions, from the methodical questionings or the theoretical penetrations of largest, passes by Manuel GIL to which it pays homage and which initiated its research.The fascination for the white at modern, which is during plastic investment, intellectual the and moral one in the color, finds its exaltation inversionnist here. Red answers of green, purple of yellow (as if they of it were responsible), not to make play the complementary ones but to occupy a virtual place, to find the totality of the color by the opposite force which it contains.
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