Miraculous Skies | Series 2014


Le Dernier Soir, 200cm/140cm, oil on cardboard, October 2014



In Introduction to the Structural Analysis of Narrative, Roland Barthes states: narrative may incorporate articulated language, spoken or written, pictures, still or moving, gestures and the ordered arrangements of all these ingredients. It is present in myth, legend, fable, short story, epic, history, tragedy, comedy, pantomime, painting, stained glass windows, cinema, comic strip, journalism, conversation... Narrative is present at all times, in all planes, in all societies; the history of the narrative begins with the history of mankind... The narrative scorns division into categories of good and bad literature; narrative is international, transhistorical, transcultural, it is simply there like life itself.

Barthes gives to the notion of narrative a sense of universality and versatility. Its fullness connects humanity on many levels, in communication, heritage, memory. In order to reach out towards this entity, I needed to be more direct and understandable in the narratives within my paintings. I started to incorporate written language in them and used aspects of comic strips in the work, making the images busy and informative. The paintings described a world on the verge of coming to an end. The narratives in the different paintings became less evocative than in Waiting Rooms, as I incorporated descriptive texts within the picture. The use of words found in the texts of the Miraculous skies made the work more political in the sense that the characters and situations are recognizable. Indeed, the viewer can appropriate to himself the notion of lovers, apocalypse, accidents, and statuses such as a nurse, a thief or parents found in the work.

he formality of the paintings also took a more conceptual turn. The destructive forces depicted in the work were expressed by the construction of the painting. The ferocious poetry of the subject in contrast with the very stationary quality of paint embodied the layered and shifting realities of existence. Space eaten by broken lines, colours clashing with geometric shapes, staccato brush strokes against curves, flatness against rhythm, echoed stylistically with cubist aesthetics.

The Miraculous skies, although figurative, were also meant to produce an idea, something out of reach physically. The cubist influence creates an anachronism, reinforcing the nostalgic emotion produced by the presence of an apocalypse, the sadness and the longing to go back to what is about to end. They are part of an alternative world held together by shapes and colour, which only exists as an image but in which proportion and form try to extends possibility.

The Closing Sky,  120cm/170cm, Oil on carboard, April 2014

The Closing Sky, 120cm/170cm, Oil on carboard, April 2014

Under a Black Sky , 120cm/170cm, oil on carboard, May 2014

Under a Black Sky, 120cm/170cm, oil on carboard, May 2014

The Miraculous Sky , Act I, II, II, IV, 240cm/170cm, oil on cardboard, May 2014

The Miraculous Sky, Act I, II, II, IV, 240cm/170cm, oil on cardboard, May 2014