Over the years ,I have been interested in the primordial aspects of abstract painting, both in physicality and materiality. How one applies paint, selects colour, and organizes a composition, (be it on copper panels , canvas, wood panel, paper, cardboard, or with ceramics,) is what produces the body of an oil painting. I opt for bright, contrasting colors – the most dazzling that nature can offer. These paintings are built with layers of thick oil paint , successively applied with a brush or palette knife. At first, the working method and temporality seem hidden, but colourful fractures reveal the presence of all previous applications. The surface of each painting presents the temporality of its construction, its textures, and multiple layers of colors. Embodied in the materiality of these works is an emotional dimension, present from their incipience. Each series evolves from preceding series. Though there are always marked differences between series, the eye yet perceives visual links within forms, or colors, or textures.
Oil painting on wood-mounted paper
Studies, 2014 (1-7)
47 x 61 cm each
(18,5″ x 24″ each)
Image: Guy L’Heureux
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