« Sometimes I get exhausted by humans and I remember that I am one, so I get up and move on. » Goodÿ – July 20, 2019
How could I translate, in my artistic practice, the whole and the particular, being and beings in their signifiers and their signifieds? I always seek this questioning of oneself when we are faced with the work of art which should refer us to ourselves. I was redefining my painting, my practice, my gestures and my dynamics to rediscover the essence of my senses and thus translate the paradoxes that I was studying, human, social, economic, cultural and spiritual paradoxes. I wanted to invest a new place to try to rediscover my gestures and deepen the essence of things; A new rhythm, to change my vision of the world and rediscover its disorder; A new painting, always remaining on water-based paints. I wanted to exploit other textures to express another density, another thickness of the world, other transparencies and another dynamic within the work; I wanted to move from the light/dark painting of my previous collection « Peyi-la» (2010-2014), to a painting in which the color of hope, of illusion, would dominate the subject; I wanted to put in place a revealing line which, far from comforting the viewer, would lead him towards a permanent and soothing doubt, soothing, because it is a doubt which reassures him because of the paradoxes which he would feel in the work and which would have a resonance in him while leading him to see something else: a balance in « chaos », balance which would not be the absence of chaos, but its full expression as part of us, like a perpetual movement which would animate us, like our « big bang » cosmogenic.
To achieve this result, I was going to express on the same surface the whole, its opposite and their links, thus creating a trilogy in permanent relation which would propose a multiplicity of reading plans, and a deep analysis in the reflection. The objective would be to paint the antagonism, the duality, and the uncertainty of the future in relation to the troubles of the present and the knowledge of the past. This, in a plastic balance to open a path towards other ourselves, which would enter into the spiritual dimension of the human. In a gestural allegory which allowed me to define, almost with a single gesture, or at least with a single primitive outline, a multiplicity of points of view. I traced my backgrounds one after the other in a creative frenzy. I was not looking for relief or depth in this collection. I wanted everything to be on the same plane, not that of the pictorial technique, but that of the simultaneity of events, as if to bring back all my « thoughts » on the surface of consciousness. There was no victory of chaos over order or order over chaos. But, a balance created by the reality of each and the confrontation of the two through the prism of awareness and introspection. The thought made the work, the work made the thought. Ultimately, I think the two go hand in hand. The painter would only be the tool of the transmutation of one into the other in a permanent redefinition of one by the other.
As I went along, I noted on the back of the canvases the titles of the works to be created. My mind was settling. I « took the time ». The time for another research project on the titles that I wanted all in Creole, my language, a language that I convey through my exhibitions to make it known in its philosophical value.Dictionary in hand, I checked the adequacy between what I knew of the word, or expression, and its meaning. « true », as well as its spelling, and I made my list entirely. I just tore off the protective plastic on the back to mark the canvas with what would be its spirit. Then, I put them away in the studio, discussing with each one to see which one would allow itself to be tamed. Because, although I knew what I wanted to paint and what I wanted to achieve in appearance, there is in the act of creation this little moment of doubt in front of this canvas filled with emptiness. A « struggle towards achievement» And « a series of efforts, pains, satisfactions, refusals and decisions », said Duchamp. Then there are those other little moments when, despite mastery, painting doesn't let itself be done, if one really masters it. Creating with the power to always surprise or amaze us, mastery would be, in my opinion, an accumulation of knowledge that would allow us to face the work in progress.
Goodÿ – July 2016
