WESTHOUSE
CRITIQUE
Passionate about strong colours and refines harmonies, Christian Poirot offers us an original figurative work with a rare quality, for the observer the reasons to be surprised are numerous.
Fan of acrylic, this one is used as the oil with an addition of a binder only known by the artist. At the first sight the process is more complex that it seems to be.
I obviously tried to investigate to get more information but the secret is well kept.
The result: A work of an extraordinary deepness in the tones and a great level rarely met.
With delicacy Christian Poirot plays literally with brilliance effects or luminosity scales.
The impasto is laid with rhythm in variables layers alternating the aspect "pasted paper" and smooth area.
Depending on the requirement, the brush, spatula, rag or hand, become the tool.
Geometric lines define punctually outlines; each facet explodes the light and shades.
Most of the time, the master prefers warm tones. However, we can notice some exceptions with successful blues monochrome.
In a creating language done from superimposing of fragmented tints, the artist with a disconcerting skill reveals us deconstructed and reconstructed shapes.
This distorted shape turns the observer towards the thought and the astonishment.
Characters, notably women, but also landscapes and still life are the subjects more often chosen. We can discover an authentic pictorial accomplishment: no classic demanding component is missing for a perfect harmony.
The search is built with doubts and worries; fortunately the great sensitivity of the artist is expressed in a creative freedom, through a singular work that the success is absolutely justified.
J. St Aubin
Pas de formation renseignée
