VISIONS oil on canvas 65 x 54 cm

M.A.: Joseph AUQUIER, i expose your paintings in my gallery for several years, and I would have some questions has to put you; first of all how is born a painting?

A.: I do not know how is born a painting. I do not know what is going to come. I begin with the colour. I cré, the painting begins has to speak to itself, it is he who imposes me its idea, its direction. I take the painting on the march, I do not know or I go, I go on a travelling,as an explorator.

M.A.: is there a base? A pattern?

A.: I never draw, I do not begin with an idea; when idea forms it belongs to me, it corresponds has something of personal and of deep, in my sensations, in my fears, in my lived.

M.A.: How the idea of the painting comes it?

A;.: The association of certain forms among them set of in my spirit, in my memory, certain images.

M.A.: Who?

A;: The PTO activates the face, the idea of the face, the image of the face.

M.A.: How you painted?

A.: I happen to paint blindly, sometimes the eye is a barrier has spirit, my hand is blind, it cré forms, when the painting begins has to pound, has to live, my spirit drives my hand. At first it is my hand which gave impulse. There is an interaction enter the shape which engenders images and my spirit which engenders forms.

M.A.: How it organizes itself do it ?

A.: There is in the painting a stake in memory of the previous shape. The painting is the sum all the stages, all the forms which served has its elaboration. When I stack a shape has the other one, the shape of the bottom if it is shaded off do not there stay less in memory; it is what gives this effect of transparency of mystery. These forms become tracks and create the phenomenon of disappearance / apparition.

M.A.: Does not this work return the more difficult reading of the painting?

A.: more difficult, yes, but what is remarkable it is the difference of interpretation that one has. Forms are interpreted differently in the detail by every one but globally the painting is read in the same way. Each can discover forms, images very différent, because several painting are imbricated some in the others, of this fact reading is it only richer. Globally it is often the same impression which is felt in the fast reading,But the more one the regard and the more one discovers it and the more one drills the mystery. Of or the danger of a too fast reading of this work.

M.A.: Can one classify your painting? Can you place her?

A.: This kind of painting is in the crossroads of all the painting's movments: she is an expressionist, visionary , abstract, figurative, mystic painting.

 

 

M.A.: I feel your works profoundly, in this painting I see saint face of the Christ.

A.: You you see there it, I put in it a divine character,essantial it is the divine. That this is has the time on the subject of the woman, which is life, and of death. One feels there all the duality, it is dramatic full of life, it fascinates and disturbs at the same moment.

M.A.: Where from comes your inspiration?

A.: Many fantasies,visions, I paint only women, at least for this period. Here are six paintings: six women, but symbol of life and death. We are lost the sense of the tragic, it is necessary to find it.

M.A.: What is it necessary so that a work is good?

A.: It is necessary that she speaks has the eye and in the spirit. It can be spectacular but hollow, it becomes good when it allies aesthetic beauty and spiritual beauty, then the painter is at the same moment a painter and a philosopher: the notion of méssage is important.

M.A.: What has to be a good painter?

A.: The problem it is that a humanist can make of the bad painting because he will have no technical experiences. A good artisan and a good philosopher is needed at the same moment. The technique is not enough it can have died if it is not lived with the spiritual.

M.A.: There is a lot of energy in your works

A.: We live in a world where speed is essential, I have of to find techniques which allow me to pass on quickly my drives and my passions. I work as a sculptor, creating shape and colour. It is the way of working who communicates a lot of energy to the painting, of spontaneity and force. If my technique is rather unusual it takes place in the current tendency of a return has a painting more dramatic, more true, but so a lot more free, richer, which brings something to the people.