Writing, because of the formatting that this requires, requires thought, much more than oral expression (which of course already involves it) imposes a burden, a carry-over of thought, and, in any case, an inclination for it to enter into traditional and cultural moulds that alter it.
The free drawing does not require thought, is not altered by it. There is here an essential direct access to a real artistic creation. Almost all my works are the result of this process. I do not use a photo holder or template.
I wish that my drawings do not represent less than they express. They are an unreachable, immense and enigmatic country, a poetic tension, a gesture of soul, a direct language.
I am always enthusiastic about the duality that sits and sometimes slips like a reptile. The colours, the light of a scene can produce air, by letting go it seems to circulate in a good composition. This is due, I believe, to the effect produced both at the opening and closing of the psyche that can be of... Read More
MONTOLIEU la coopérative - collection Cérès Franco
Parfum d'Art Edition; first Edition - 1 july 2015 - (available in english on amazon)
Parfum d'Art Edition; first edition - 1 juillet 2015 - (available in english on amazon)
I went to Christophe's to discover his painting. Entering this room, which also serves as his bedroom, one enters the bowels of a workshop of creations that reveal the whole "chiaroscuro" dimension of the "Rust" Period. In each of his paintings, the artist takes a sharp look at the subjects by expressing their powers and their fragilities. Faced with his works, how could one not think of what Claudel wrote: "certain blue of the sea (but also of a woman's eyes) is so blue that only blood is redder"? This remark makes it possible to capture with relevance all the paradoxes of the "Rust" period symbolized in particular by a series of portraits that oscillate between the misery and the grandeur of the human condition.
In this cave, where the paint essences evaporate, all the canvases rolled up and placed on the wall and the creations in progress are confined. It is in this pregnant atmosphere that I contemplate the "Rust" period.
To look at the works of this period is to feel all the verticality of Christophe Beraet...[...]
The artistic ascent lifts him towards the ideal, so dear to Baudelaireian poetry. His characters, naked, disarticulated, deconstructed or reconstructed, as well as the representations of the "gules" on the edge of the caricature, remind us of the humility of our inadequacy and of the idea that our life must ideally be led with the craziest of passions.
Inhabited by his art, torn apart, torn apart and torn in his feelings, Christophe Beraet delivers to us, in spite of a complex suffering, the demiurgical secret which heals the wounds of a lively personality. Thus, the postures represented and transfigured, are a language that is declined to infinity and translate the dazzling truths of magnificence and sublimation.
Christophe Beraet delivers to us, thanks to a talent filled with sensitive intelligence, the sweetness of faith. To use Camus' formula, we must live with "stubbornness", no matter "this permanent divorce between the spirit that desires and the world that disappoints". To give meaning is finally to accept "the confrontation between the human call and the unreasonable silence of the world". [...]
It must be noted that the drawn bodies, exposed on the walls, appear to us as beings who escape the gravity of their inner prison and especially the depths of pathological melancholy. The "Rust" period is the realization that we never rest because of this random disorder of the soul and the drying up of the heart. All these paintings suggest us to rise up against the physical disgust of ourselves and against our own psychological devalorization. Christophe Beraet's art allows us to fight against the perverse mechanisms that lock us into the straitjacket of the foul. […]
Whatever his moods, his creations are his rebirth and free him from inner wounds although they are well and truly visible in the "Rust" Period. Entering the workshop room teaches you more than a book. His art looks like an open heart. […]
How can the whole symbolic dimension and moral value of a singular character be defined when mass culture implies indifférenciation and relativism? How to become a character in a society where the levelling down is practiced and where the intellectual is crushed, the hero assimilated to an ephemeral star?
It is very difficult today to emerge as a singular character. However, while we are all the same but isolated, paradoxically, there is a concern for difference. In this ambivalent context, is there a place for the characters? How can each person drowned in our consumerist, mercantile and reactionary society - despite appearances - assert himself as a character with an "extra soul"?
When contemplating his works, one rushes into the intimacy of the artist, one invites oneself into his space, but one says to oneself that there is in them, a little of me, a little of us too. His paintings, sometimes terrifying, are softened by a colour, a line. It shows us our contradictions but more precisely our cracks, our wounds. [...]
Christophe therefore strives to say that giving direction and meaning to his existence cannot be done by ignoring death. The body language of his characters embodies "action" because we only feel our fullness in action.
As he paints and writes, he heals himself and seeks an improbable corner of paradise. He probes his interiority and it is his depths that he throws on the canvas. These bodies are not dead or dying or dying like those of Jericho in The Raft of the Medusa. These bodies are injured but they are psychological wounds. As for the portraits, they suggest that we are all very beautiful by being ourselves.
Translated with www.DeepL.com/Translator
CHRISTOPHE is an artist of discovery who dreams of a language capable of translating the dazzling truths of existence. His expression in all its forms and states is worthy of Rimbaud's letter to his friend Paul Demeny in which he praises poetic art. This so-called letter of the seer proclaims the need for the modern poet to bring new ideas and forms. In CHRISTOPHE, the creative quintessence consists in drawing from life, all the substantial marrow of human essence.
François Birembaux. Contemporary Knowledge Nice.