Silvère Jarrosson’s work adds an apocalyptic dimension to the known world. He offers us an universe in which all language is abolished, but in which the animated and moving part of soul, the humming of interstices, and the breathing voids still reign: without which life would give up its legendary component. That is why this art should be viewed as an organic, slow-moving adventure—starring the mythical time that lies within us unbeknownst to us, and kindles our emotions.
Despite having emerged practically at the beginning of the twentieth century, abstract painting’s journey is still very much ongoing. This is underpinned by its influence on the younger generation—despite the temptations on offer from the digital world, and other transient artistic scenes.
Silvère Jarrosson’s choices, training, and natural affinities all designate him for inclusion in the category of younger artists who know there is more to be learned from the unknown than from the self-evident. Yet while his compositions never strive to equate the visible world, they are underpinned by a specific reality, clearly impacted by very worldly tribulations.
Some will speak of Silvère’s painting as “abstract”—as opposed, presumably, to figurative. But it is very down to earth, very rooted in matter. Silvère’s painting is a painting of exploration, that embraces the cosmos, thought and the mystery of the unspeakable. It is constantly evolving, feeding on all sorts of biological phenomena, both physical and dreamlike, through which it pursues its own trajectory. The seven successive series of his work, from “Rythmes vitaux” to “Élégies”, are the best way to take the measure of its diversity.
Silvère Jarrosson embarked on a painting career in answer to a calling that witnessed him suddenly realising “that’s what I want to do!”, as he discovered a friend’s pictorial work. What, Painting? Yes, painting. Nothing at the outset destined him to become a painter. He had trodden an entirely different path—being destined to become an étoile dancer When he had to face the impossibility of continuing in that direction, he started reading biology as an undergraduate. That was when he discovered painting as a vocation. From that point onwards, he put himself to work, fired by a boundless passion, and never strayed from his chosen path. He became what he had at that moment understood to be, painter.
Silvère Jarrosson’s third exhibition at Galerie Hors-Champs showcases the latest trends on which his previous experience so soundly prepared him to embark. Shapes—abstract, mineral and reptilian, celestial and granular—morph yet further in a never-ending set of variations and shades, a body under construction, continuing unbroken where his previous work left off.
One wonders whether this body is ‘growing’, since he refuses to put names on what his work could potentially represent: in any event, it is constantly evolving. The technique is the same: before the dripping process, Silvère Jarrosson prepares his canvas according to a process pretty akin, according to him, to subduction […]
Silvère Jarrosson invents a torsion-filled universe. This is due, above all, to the technique used by the artist: he slides a coat of white paint under a coat of coloured paint, and the latter deforms the former, through something very much akin to telluric motion. Various matters joust against one another in a magmatic substance, yet they never merge; the relief impressed on the artist’s paintings is quasi-metallic. Bodies appear to creep along, without their true significance being discernible, since everything seems to become shapeless and glistening. Acrylic paint is the raw foundation of this action painting process, which harkours back to the prehistories of chemistry, as well as to post-modern experiments where the image seems virtual.
This is the story of a boy who draws.
Who once said to his parents: “I would like to dance.”
As he was gifted for Ballet, the boy enters the Opéra de Paris.
But repeating his first role as soloist – this feast of flowers in Genzano that Nureyev interpreted – he is seriously injured.
It is the story of a dancer who suffers in silence.
A wounded boy who goes up on stage, and wakes up in an emergencies room.
Generalized infection: pretty close to death.
Real births are renaissances.
Silvère Jarrosson saw the day at eighteen, with an idea in mind: painting.
For his first monographic exhibition, “In Utero”, Silvère Jarrosson consolidates his pictorial universe, which becomes a psychic cartography. It turns out to be a unique visual journey, a half-way house between a geological exploration and looking though a microscope.
WHile the map is well drawn, the territory is still undefined, and deliberately so. That is because this territory enjoys shirking, as the painting frees itself from the clutches of Jarrosson’s suspended brush, moving in a panel of evocations uniting opposites (the infinitely large versus the infinitely small, but also the carnal versus the inert), leading them in quite another direction.
Silvère Jarrosson’s work involves a quite remarkable pictorial journey, in which abstraction is torn apart by turbulent projections. The artist uses pollockian dripping, releasing the capillarity of the acrylic paint he uses to develop his colourful turbulence.
Production breaks forcefully free of traditional pictorial abstraction, and gives birth to a form of non-figurative art—a celebration of spontaneous movement.
The abstract flows in Silvère Jarrosson’s paintings are a magma of melanin, hallucinated variations of carnal forms, akin to geographical maps or satellite imagery, or even the workings of a microscope. The minuscule mixes with the infinitely big, cells with the stars.
Movement is created by contradiction: without it everything remains frozen, permanent. Unifying of opposites? Acrylic emotion—that of the unexpected—sneaks onto the canvas and impresses its paths as if it had a life of its own—a special intention for which Jarrosson serves as guide (or, perhaps, by which he is guides?) through a journey of gesture and dosage.
Space defines a place in which a new, changing, visible and invisible life is created. In the work of Silvère Jarrosson, the main space is defined as a choreography—a tribute to his years as a dancer at the Opera and to his university training—each implementing precise, “aerial” and spontaneous movements. Each splash of matter lands in the right place on the canvas. The pictorial material rattles about, erecting a world niether in nor out. It aims to create a new nature. The visible, through pictorial flesh seeks to reach and to hang out the bundaries of the invisible, of the imaginary and of human unconsciousness. The matter dances, vibrates ,and the spectator creates his own space with his anxieties, his joys, and his desires,
The paintings of Silvère Jarrosson offer a personal and ambiguous soul-questioning statement. One that dance can both carry and convey: exaltation, suffering, madness, precision…
Far from a frozen representation, the narrative of these works is lived within a precise time frame—that which is necessary to move. If the sensation is, by definition, immediate, expressiveness, on the other hand, unfolds here in a time frame specific to each artwork. Each can thus be looked at like a narrative (visual just as much as musical or corporeal). The composition is much more than a mere visual journey. It is the frame of an unravelling narrative. Open narrative, with he edge of the canvases offering a trailing edge towards which the imaginary can unfold.