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. A correlation arises between his shaky architectures and his choreographic experience, propelled by the moving body’s arabesques. Notwithstanding this proudly repeated reference, he does not paint the movement but its emblematic trace: his memory, in a manner of speaking, reincarnated in the skein that slips out from his undulating, frayed, and constantly growing, then no longer-growing shapes. WIth this combination of impulse—lack of premeditation, in other words—and mastery of gesture, this pictorial transcription induces a form of writing in spurts, corrected by the unspoken rule that always applies to any form of affection.
Nevertheless, discipline, as an ultimate, protective reflex, is no impediment to the readiness of the twisted quake underlying its exploding structures. It unfolds rather like a carpet of staggered, mottled or spiralling milling. With this scattered unblemished spaces, this spontaneous field layout operates quite apart from calligraphic automatisms, which in turn demonstrate the authority of the form itself and the meaning of the signs. Silvère Jarrosson very quickly developed his own way of rendering rhythm in the service of signs, alternating between the open and the somewhat closed. Yet he clearly never departed from the principle underlying his inner self, which for him are one and the same.
Basically, he confirms, my approach has remained the same, whether it is danced or painted.
Ample or distended, aggregated or slouchy, usually stained with coloured maculatures, both generous and contained, his gestures are in line with his inner feelings, while his body connives effortlessly with the artwork his a steadily weaving. Nonetheless, despite the occasionally agitated component placement, there is no hint of panic in the designs and the relief. The alternating solid and instersticial surfaces, with their ever-recurring transparency, with light or more distinct tonalities alternating throughout. As for the matter, always acrylic, in the continuation of some protagonists of the Gutai group or of the abstract expressionism of the overseas, it is directly projected on the support through a
dripping the use of the author, to achieve maximum physical
impetus. This activism will bring us to point beyond what has been produced, reaching regions where imagination carries the process further, offering a range of interpretations.
If one had to make stylistic comparisons, this grammar would perhaps approach the fluid, romantic touch of Paul Jenkins, or the heavier architecture of Lee U Fan—who travels to the very end of his brush’s journey. For his part, Silvère Jarrosson remains true to himself, to the instantaneous appropriation of his surface, with his youthful itinerary measuring up to his initial promise.