Statement J.D. Conceptual & Minimal art

Vanguard
Vanguardism as in ideological corpus
what may seem vanguardist from a perspective
can be seen as reactionary from another
here you will find
unpostmodernism,nihilism, existensialist

Autonomy
Indispensable autonomy of painting,
appearance of uselessness.
from sensorial to cerebral.
use activity to create art with the intention of stimulating the minds of visitors
to see is to think, and to think is to see.
Painting is a thinking man's game.
Here, you will not find utopian belief that art carries a wider message.
It is all aesthetic illusion
as in formless
an aesthetic ideal
in which the many are reduced
to one.
An aesthetic experience of intimate immensity:
knowledge of your death.

Meaning
Works of art... do not force meanings on their audience; meaning emerges, adds up, unfolds from their imagined centres...takes one through the process of discovering meaning.( Robert Hughes- Time mag )

Time
Time as circular
Time and space are irrelevant
In any world
Beyond human experience

Death knowledge
For working artist painter
the only significant activity
is introspection,absorption with own nature.
Autoscopical activity is the means
to express the nature of humankind :
the trauma of certainty of death knowledge.
Imagination,conceptualization,creation
are the mechanisms that allows us
to ignore that trauma.

Transcendental ego
Egoic point of view
painting communicates the structure of perception.
From beyond the confines of an ego
to be the creative nothing
the nothing out of which
as creator
creates everything.
Painter as exemplary sufferer
painter as self- absorbed individualist
painter as changer of the subject
painter as healer
painter as medium
painter as failed primitive
painter as failed individual
painter as misfit
painter as pre-capitalist structural poor man
painter as transcendental ego.
It takes a lot of time to become what we are and longer to be what we became.

Be calm. Merci

   

Montréal 2007

Title painting 1: Formless in the originary scene.
Notes : 3 points perspective, shift effect. First sign by pointing . Micheangelo Buonarroti' Adam meets Kunigoshi Utagawa's Skeleton Specter. In synchronicity you experience here the earthbound Adam in Micheangelo 's fresco ' the creation of Adam ' circa 1511, with Kuniyoshi' s airborn Skeleton Specter , circa 1845, edo period. An illegal political art piece at the time in Japan .

Formless 1, context 1, form 1. Acrylic on canvas - 2007 - 18'' x 24'' (46cm x 60cm)

Studies, formless 1, context 1, form 1. Acrylic and lead pencil on Fabriano cotton paper - 2007 -

9'' 1/2 x 12'' 1/2 (24cm x 32cm)

Pre-studies, formless 1, context 1, form 1, deconstruct 1, conceptual signified 1

Acrylic and lead pencil on Bond paper - 2005 2006 - 7'' x 12'' (18cm x 30cm)

Front                               Back

From sensorial to cerebral

Studies, acrylic on paper - 2005 2007 - 4' x 8' (122cm x 244cm)

/Portrait/

/ PORTRAIT/

Chantal Bouffard, anthropologist. Sherbrooke, Québec
July 2007 - Acrylic on fabrianno cotton paper. 9½' x 12½' (24cm x 32cm) each.

Diptych, deconstruct, 1 point perspective, 2 level horizon line.

Diptych 2, deconstruct, 2 point perspective, 3 point perspective, 2 level horizon line.

/ PORTRAIT/ Who we are, qui nous sommes

An unpostmodern balance of composition and character studies of myself, friends, people I love, like, or respect. Each /portrait/ is a creation-invention painted in an asymmetrical, structured, shift effect of soft “Spumato” technique designed to create perception of depth, volume and form as in Leonardo’s Mona Lisa, 1503. It is combining with the aim of analytical cubism to produce a conceptual image as oppose to a “normal” perceptual one as in Picasso’s 1910 /portrait/ of art dealer Daniel-Henry Kahnweiler.

I put the signifier /portrait/ between slashes to indicate that /portrait/ is an intellectual experience before being an accumulation of realistic elements. /portrait / as “art “of a person: each /portrait / is a “deconstruct “of the cultural construct of the person. Each / portrait / is elusive, a mystery. Each /portrait / conveys a positive image. It celebrates the person’s ability to turn the tables on society who typically thinks it is empowered to make them behave in socially approved ways at all time.

All originals /portrait/ painted in monochromatic carbon black acrylic on Fabriano 90lb/200gr cotton paper, 9.5 x 12.5 inches/22 x 30 cm. Each one signed Jacques Deshaies in the back so as not to interfere with the architecture of the work.

What we are, inside us:
the metaphysics of the most general hidden traits of physical reality.The artist takes the right to use genetic as a aesthetic/ethic arena