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 type of work requires considerable precision. It gives the artist’s technique a more instinctive touch. The paint squirts, in varying degrees of squimishness, move in peculiar directions. The resulting spiritual representation adds a great deal to what initially was merely sensual matter and shape. The artwork, therefore, goes beyond the mere enjoyment in showing somthing.
gnomish present of contemplative speculation follows This suspends and surprises the viewer, who penetrates something akin to the unstable, as opposed to the dummy obviousness of appearances. The artist exorcises them—not without a