{"id":206,"date":"2018-02-09T16:59:07","date_gmt":"2018-02-09T15:59:07","guid":{"rendered":"http:\/\/laurentgolon.fr\/?page_id=206"},"modified":"2020-05-06T01:38:54","modified_gmt":"2020-05-05T23:38:54","slug":"peinture","status":"publish","type":"page","link":"https:\/\/laurentgolon.fr\/index.php\/peinture\/","title":{"rendered":"Peinture"},"content":{"rendered":"

Issue d\u2019un travail sur les Cerfs-volants<\/a><\/em>, con\u00e7us comme graphisme en mouvement dans un espace en trois dimensions, la recherche picturale de LG a d’abord <\/strong>port\u00e9 sur les mati\u00e8res textiles. <\/strong>Cette exploration des m\u00e9diums et des possibilit\u00e9s techniques de la mati\u00e8re picturale le conduit \u00e0 envisager de nouveaux supports : \u00e0 partir de 1996, il aborde le bois, <\/strong>base id\u00e9ale pour des recherches de mati\u00e8re, qui lui permet \u00e0 la fois d\u2019approfondir le travail du geste, et de commencer ses exp\u00e9riences sur les pigments et les enduits. <\/strong>Depuis 2005, il travaille sur de la toile libre, dont le caract\u00e8re flottant cr\u00e9e un contraste de mati\u00e8re suppl\u00e9mentaire et ouvre une autre dynamique \u00e0 l\u2019\u00e9mergence des formes.<\/strong><\/p>\n<\/div><\/div><\/div>

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La peinture de Laurent Golon montre le fantomatique, la mati\u00e8re \u00ab p\u00e2le \u00bb (Paysages p\u00e2les<\/em>). Elle \u00ab r\u00e9v\u00e8le \u00bb, comme le n\u00e9gatif photographique ou la radiographie. Et l\u2019on ne s\u2019\u00e9tonne pas qu\u2019elle se soit un jour formul\u00e9e humoristiquement en \u00ab enc**ant \u00bb Platon : jeu de reflets, l\u2019ombre n\u2019est pas trompeuse, mais fait voir les formes des choses. Remarquable coloriste, Laurent Golon d\u00e9croche la couleur du trait, inverse la proc\u00e9dure : de la couleur naissent les formes, flottantes. Le trait s\u2019y inscrit, et fait mati\u00e8re. Les formes floues qui se reconfigurent selon que l\u2019\u0153il fait sa mise au point d\u00e9voilent la ligne toujours incertaine des limites entre les choses. L\u2019informe comme incertitude des choses, comme inach\u00e8vement, parce que rien n\u2019est \/ pour que rien ne soit jamais fig\u00e9, arr\u00eat\u00e9. L\u2019inachev\u00e9 comme forme du dynamisme. Peinture ontologique, plut\u00f4t que m\u00e9taphysique, o\u00f9 le corps fragile et menac\u00e9 (Sourires jaunes<\/em> ; \u00c0 mon corps d\u00e9fendant<\/em> ; Suaires<\/em>) r\u00e9pond par sa pr\u00e9sence mat\u00e9rielle (Naissances de V\u00e9nus<\/em> ; C\u00e9libataires<\/em>), en r\u00e9sistance (Sentinelles<\/em> ; Bandiera rossa<\/em>). Situation de l\u2019homme \u2013 peinture \u00ab en situation \u00bb.<\/p>\n

Isabelle Krzywkowski<\/p>\n<\/div>

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