Reading chaos

Others will refer to Silvère’s work as abstract, probably as opposed 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. It is by following the seven series of the work, of Rythmes vitaux to Elegies, that one will discover its diversity.

Rythmes vitaux

This first series abounds in colors, fractal forms, and proliferating geodeques. The magmatic matter is overflowing from all sides, its energy splashing out.

The Big Bang.

We go from the smooth [porifera 3] to the striated [massacre], [ideal rain] and the rough [antimony]. The lines are very rare. Instead, there are sets, constellations [iridescent nacre 2] and streams [Tonio].

Energy is everywhere: current, point of intensity, flows, electric arcs, and tumbles.

In Silvère Jarrosson’s work, the body—if it must be apprehended at all—must be considered, first and foremost, in the sense of science-physics. Crossed by this energy, this body takes on various states: solid [the kiss], liquid [porifera 3], in fusion [Tonio], [ Guam].

The basis of Silvère’s painting , evidently, is experimentation.

This experimentation is all at once scientific, artistic and spiritual. Scientific, firstly, because the references to physical phenomena. But also in its searching for techniques and pictorial processes:

Before the dripping, Silvère Jarrosson prepares his painting according to a process that he approximates to subduction: by deploying sufficient pressure, he slides a layer of white paint under a layer of coloured paint, which goes the deformed in the manner of a tectonic plate

Artistic experimentation seems evident in the diversity of the paintings in this initial series. The young painter is trying things out, aware that he is clearly drawing a certain pleasure from the process:

The field of expression then widens and the desire to create appears spontaneously. These first canvases, impulsive choreographies, are the direct result of this birth.

Finally, a spiritual experience underpins the painter’s quest, as mentioned in Guillaume Cassegrain’s quotation, which Silvère chose to illustrate his first paintings:

The paint flow thinks and makes me think, it encourages in me (in you) an uncontrollable straying of our thoughts, ideas that are born while I look at it.

The scientific, the artistic and the spiritual never cease existing and interacting in Silvère Jarrosson’s pictorial experimentation. In one series after another, these three fundamentals are prominent.

Rythmes vitaux is very much the Big Bang of this pictorial experimentation. Its engine is the painter’s plunging of the observed subject’s creative power into the abyss: chaos and its multifaceted emanations.

Chaos is not a shapelesss state, or a confused and inert mixture, but rather the place for plastic and dynamic becoming, from where determinations that are sketting and fading at infinite speed continually emerge.


Gradually, chaos begins to fall into order.

This series is particularly cartographic: strata [comas 11], [Inlandsis], layouts of shapes [Maasai], emergence of forces at once which construct and destroy, which order and disown [electroshock].

There is also a permanent round trip between the macroscopic and the microscopic, between the inside (neural network): [comas 1], [comas 6] and the outside (the map: [comas 7], [comas 8], [comas 9]).

What makes it possible to move from inside to outside, from macroscopic to microscopic, is dreamlike thinking. In this connection, coma is a very peculiar situation in this line of thinking: between life and death, the orderly and the untidy, the visible and the invisible.

If we were to find a representative intention in Silvère’s painting, it may be these moments of passage, this transient state. A transient landscape (a river flowing), a transient organic network (intercellular Exchange), and a transient thought (emerging ideas).

Surely, Silvère’s paintingis an act of directing the thrusting the creative act into the abyss; At least in the sense that at the end of this transition evoked picturally, there is a advent of something.

Moreover, this advent is meant to be perpetual in time and infinite in space. The Détail series suggests the idea that a new canvas can be redeployed in a part of an existing one. Just as one dream can be nested within another.

But what is a idea in the process of being born? In neurology, it can be interpreted as falling within the coupe sombre, an electric arc established between two neurons. And it so happens that arches are everywhere in Silvère’s painting. This arch is the physical manifestation, sometimes chromatic, often spectacular and always ephemeral, of a connection between two bodies or two poles. Attraction, deliberate act of rapprochement or desire.

The bow, the dark cut, in some peculiar way, is the underlying subject of the canvas [electroshock]. It is the expression of a power, whether natural or summoned by man, by the hand of the painter.

The [Portrait on the scale] of the artist directed by photographer Julien Benhamou evokes this arch in a very striking fashion. You can see Silvère perched on a ladder, over two meters high. On the ground, the canvas is the receptacle of a jet of white paint originating at the end of the painter’s outstretched arm, in a very unstable equilibrium. This snapshot says everything! The photographer has captured everything.

Silvère deliberately plays with the scales…


The créature, being an emanation of chaos, is the emergence of the living being. Deformed, polychromatic, iridized, shifting, always in the making.

These créatures, with haunting peculiarity, are the emanation of our imagination. Almost all of them have linear roots, floating in space, spreading in all directions. These creatures also scatter [creature 3 and 8]. One is at the point plant and animal meet, but constantly taken up in a process of creation (pro-creation)

In Silvère Jarrosson’s painting, moreover, for the first time, lines are drawn—lines bearing a specific intention. With these root lines, do these créatures not form a celestial ballet?

From there, the créature opens us to a new reading of chaos, that of the movement that makes sense, in quest of harmony. The original lightning, the dark neuronal cut, eventually culminate in the harmonious movement of life. Even if it remains strange.

No man’s land

In this series, we return to the mineral—among other places. We also look at the measurement of space, in the sense that the painter is a surveyor. At this point, there is clearly an evocation of the relationship of man with the universe:

My No man’s lands are the ramblings of a lonely man, lost in his own world. Desert exploration.

And what is the nature of this relationship? Essentially, questioning. On the one hand, this questioning is a matter of concern, but on the other hand, it is the driving force of experience and exploration.

It has been seen that the painting of Silvère Jarrosson was an abyss of experience: there is the technical experimentation put to work designing his paintings (innovation); concurrently, there is the resulting pictorial landscape, on which our spectator eye will travel in quest of new experiences.

Silvère Jarrosson’s approach, as an artist to the above-mentioned space, however, gives exploration and experimentation equal measure: Interior and exterior, microscopic and macroscopic.

Does he imply man is lost in the infinite space of the Cosmos, or in the infinite folds of his thoughts? Both at once. His refusal to establish himself in space or to freeze his thoughts is driving.

It is also deliberate.

Fragments & Cryptiques

It is worth looking at these two series together, as they are pretty complementary: fragment belongs to the air and cryptic to the telluric. The sky and the earth. The path to these two series lies in natural science, a cabinet of curiosities where painting gives us a glimpse of biological and geological singularities: texture, stratified rock, the wing of a flying or swimming mammal, etc.

In The Order of Things 2Michel Foucault, Les mots et les choses, Gallilmard, 1966. Tavistock Publications, 1970 (UK edition), Michel Foucault points out, speaking of the birth of literature, that words no longer serve merely to reresent, but that they exist for themselves. With Silvère Jarrosson, the same process unwinds: the painting takes us from a representation of the living and the Earth, daughter of the natural sciences, towards a poetry of matter and movement.

The telluric is sleep or death. Air is the power of life. In short, the timeless obsessions of man, which have always been at the center of science and art.

In Cryptique’s radiographic boards or geological sections, one feels the density of the material, the amount of force it took to build it, as well as to extract it, and to observe its primitive brutality. The history of the Earth, which is also ours, is not a long, tranquil river.

In Fragment, we got rid of the Earth and freed ourselves from gravitational forces, thanks to a magic best left unexplained, but that we contemplate with ecstasy, amplifying a serenity, far from geological brutality.

Aqueous surfaces and rough body: are not Fragment & Cryptique related to the smooth and striated of Gilles Deleuze?

The nomad does not move, he lives in a smooth space, crossed by lines of leaks and multiplicities. A smooth space is an open space, a space for wandering. It is a space of immanence, and not a striated space, closed on itself, and even divided into plots. A closed space is a space that is shared, divided, restricted. An open space is a space where one divides, an undivided space, a complete space, a whole.

Thought is affected by space. In a sedentary mode, space has been closed and data is ordered on a plane of transcendence (verticality and hierarchy). In nomadic mode, thought is free to follow escape lines, it is in everything. One could talk of a random, intuitive way of thinking, freed from the confined spaces of transcendental thought.

And to each painter, his spaces…


These paintings are the continuation of the Fragments series. We find the same smooth and dreamlike surfaces, crossed and impelled by rippling waves.

While colour is discreetly present (iridescences and gradients), on the other hand the White is omnipresent. White space surrounds the fragments, but it also penetrates inside, inducing uncertainty as to whether we are considering something empty or full. The fragments sail between the two.

It is all about the Élégies.

The transparency of the fragments (seeing something through, between or beyond an object) turns the canvas into a full-fledged optical instrument. In one place, a given fragment envelops a [harpsichord]; in another, someone accompanies dancers in a choreography [aura]. This gives the canvas a different status than that of a subject: it becomes a reading instrument, a medium of the visual.

Silvère Jarrosson’s paintings free themeselves from the confined space of the canvas. They unfold in space, further extending perpetually. This is true of a triptych or of a circular juxtaposition of paintings [French Institute of Latvia] that show us that painting is intended to extend to infinity. The canvas jumps out of the canvas, spreading out into space, into the cosmos, onto the surface of the Earth or penetrating a neural network, via visual, physical or dreamlike connections.

But the play of fragments and white also has another vocation.

The Elegies are a collection of poetry whose meaning fades, as a path whose trace gradually fades. In Rilke’s poetry, the sensible replaces the intelligible.

Locally, the fragment might well fall below the visible threshold (where white prevails). Yes this does not necessarily mean that it disappears, or that it dies there. Rather, it falls short of something, to reappear beyond, at the end of a process of creation and fusion that will have enriched it by another discipline.

Writing as a painter, painting as a choreographer, living as a poet.

Writing as a painter, painting as a choreographer, living as a poet. To become pictorial of a poem, an equation, or a physical law…

Silvère Jarrosson’s work continues to uncompartmentate disciplines. All the subject-matters required to satisfy creative injunctions. The realisation of such a canvas could begin with a constellation of words, and end with choreographic snippets.

Alongside the concrete space of the canvas and its physical environment, there is the abstract field of open subjects, actively in the work of creation.

Painting, dance, and literature are variants of the creative injunction. Obviously, Silvère Jarrosson’s work is that of a painter, a dancer and a writer on a perpetual lookout for the dreamlike power of life.