Stephane Pontié

2 – The nature of my works.

If the drawing and the paint preserve their historic statutes,
as fundamental components of the representation, has a period when reigns the digitized whole,
by my way using this medium, I continue to take advantage of the potential of all these "traditional" mechanics

With "no-curved" forms (angulars simples: square, cube, triangle, etc.), and the line (straight or broken),
I pursue this research on interface between drawn image and human behavior.

Advancing the line in its most uncluttered representation, i insists in this way on the meaning potential
and the formalism of the linear representation, in a composition which maintains these aspects in tension,
such as this one sometimes seems to make vibrate my paintings.

When i began to work out my language, it seemed obvious that by looking has to put accent on this type
of representations it would need to enlarge the graphic character,
as makes it a writer or an author by enlarging a situation to extract the grotesque from it for example.

I thus symbolized this "swelling", everything access, by giving a thickness to what was at first only a line,
and then in exclusive use of angulars forms.

It became very fast necessary, to push the concept farther than a simple alphabet primer.

It seemed logical of added by figures, in these letter, to obtain a linguistic base completes.
Strengthened by this idea of use a language, a mathematical syntax, i applied "no-curves" to numbers.

And in observation of the following numbers: 0, 1, 2, 3, 4, 5, 6, 7, 8, 9,
which form the base of our mathematics (used in a simple way 1,6, or consisted 22, 546, etc.),
I extracted the 1, 4, and 7 (being the only angular figures of the series),
by using them in a simple or compound way.

In summary, manage to express real dizzinesses, created by these situations every authors and actors of which we are,
by means of simple or compound structured lines ( meshed networks),
associated with angulars forms and deep effects and perspective calibrated, allied to a chromatic field defined well.

What at first sight seems due at random is structured in fact as a song,
and this repetitive imaging of juxtaposed plaiting, serves as tune,
coming to interrupt very rhythmical sequences.

To look at these forms painted as a whole, means reading a message transcribing faithfully the relational behavior,
by the realization in a coherent visual environment.

In substances, these paintings stage and underline these social practices which my contemporaries use,
whom they use and abuse in everyday life, to try to control everything (people and situations) in their life.

They also stress, the fact of being observers and spectators, scrutinized, analysed, followed, by my glance.

Remaining myself deliberately set back, in a concern of faithful transcription,
to throw better in the other spaces the profit of my observations.