Philippe Perot
dal 5/3/2004 al 17/4/2004
Segnalato da
5/3/2004
Philippe Perot
Galerie Art:Concept, Paris
Perrot's figures seem hell-bent on escaping their own form. No line can hold them as they are crushed against the ground like flies on a windscreen. The artist has gleaned from Bacon the violence of flatness. What's left of his figures engages in dialogues, plays out a dinner scene or a meeting as the artist concentrates his efforts on blurring the vestigial meaning and narrative links between his characters.
Perrot's figures seem hell-bent on escaping their own form. No line can hold
them as they are crushed against the ground like flies on a windscreen. The
artist has gleaned from Bacon the violence of flatness. What's left of his
figures engages in dialogues, plays out a dinner scene or a meeting as the
artist concentrates his efforts on blurring the vestigial meaning and narrative
links between his characters. The titles (Les époux terribles, Le Témoin
oculaire..) belong to a time after the event: the horror has already taken
place, or continues and is extended out of frame as, like eggs sliding around a
well-oiled pan, the figures skid and strive to get out of the picture.
Another way Perrot messes up his stories is by blurring the figures with
superimposition. Scenes run into one another. Thus a story may be incongruously
interrupted by a farandole of Betty Boops or mirthful vegetables. All these
works are created out of a "realist" principle of space without depth, and an
enduring reticence with regard to narration.
In the image: 'Tu es une courgette mon fils', 2002.
Extrait de: Ottinger Didier, "Les secrets de famille de Philippe Perrot ", ART
PRESS, n°254, février 2000, p.37-39.
Translation, C. Penwarden
Art Concept Paris
16 rue Duchefdelaville
Paris