Painting moves finally thanks to Eric Corne.

I had been likely to listen to Eric Corne, in his role of police chief of exposure where it offered to us to see some very young promising painters. Later, I learned that it was in the beginning, of the creation of the Plate - Parisian place of exposure ?cutting edge? which became FRAC- thereafter and from the creation of the General one - Parisian alternative place of essential creation

It is the excellent Gallery Patricia Dorfman which offered an answer to this question by exposing 10 fabrics and a video of Eric Corne to me. Finally I was going to see...

Disconcerted... it is the very first impression which I felt with the sight of these small and large sizes exposed there. But what is it? what that does resemble? I remained a long time, in front of each fabric to very a long time look at each detail, then I left.

As of the exit I did not have of cease to think and reconsider so that I had seen, until the day when I included/understood. This painting there resembles any other, none. All the usual codes of painting fly in glare, Eric Corne proposes another thing completely to us.

It is thus necessary to include/understand. I visit the Web site of the galerist, looks at each detail of each image, I turn over to the gallery to validate. Indeed, the proportions, the plans, the matter it even are not treated any more like we had the practice of it. Even the subjects differ since the kinds are mixed, urban and landscape. The figurative aspect of the elements destabilizes more especially as it is recognized them and that they are often even strongly connoted. One believes to penetrate a fabric with the known language and it is there that all is hustled.

All the reference marks jump, it is quite simply new, brilliant and at least as important as the discovery of the cubism...

I turn over third once to the gallery with Eric Corne this time. This man is a brilliant swirl, always avid to know the others, his pars, those of now and those of front. He quotes the great names like Poussin, the Americans, the English, known as his influence of North ?I am North, that sees himself, I do not escape from it, the colors, the matter it is North, look at Van Gogh him either, he could not escape from it, it is like that?

The key word of the comprehension of the work of Eric Corne it is: color.

It is at the same time the means and the goal. It is the confrontation of the color with the plane fabric, fields of possible to work, which interests it. True step of painter. The composition of the fabric passes by the color: its complementary combinations or in opposition - as of old lovers who dispute, his circulation which invites the oeœil with mobility.

The colors are always pure, sharp, seldom but never moderate dirty, it is necessary a glare, a vibration for them. They are drawn to the extreme from their possibility, such yellow will be blazing almost acid, such orange almost fluo. He plays with the colors like Jimmy Hendrix draws on the cord from his electric guitar to obtain the ultimate sound, with the limit.

I include/understand whereas only the composition of the color right counts. If one needs twenty coats of paint to reach that point or only one light juice, it does not matter, research is elsewhere, in the organization of the fabric. Then, according to the fabrics, the matter is sometimes fluid or sometimes in paste or both at the same time on the same fabric. There too the step is not usual, the harmony is not any more where one was accustomed to awaiting it.

The subject also destabilizes to him.

It is apparently figurative, but there too the direction is not that which one believes in the first glance because it is more exactly about a sum of figurative elements combined together. They come from images which assert that and there in Eric Corne, during one day, of a voyage. A few months after this accumulation, some of them emerge from its memory to impose itself like an obviousness on the fabric in progress. He walks it on his fabric until him to find the good place, which will come in echo to another.

The format of the selected representation is not proportional to the other images present in the composition, they are the reports/ratios of colors which impose the proportion, not the sacro-holy prospect. The result is astonishing, certain see there an economic analysis ethno/or which I know our total world. Others will recognize the images hidden in their memory of their holidays of child or others still their last business trip in Shangaï. .peu imports. The images which form the subject on each fabric are so heteroclite, personal, close friends that they become universal about it. Each one takes its reference marks where it wishes, each one can there even what it wants.

Into his new coding, Eric Corne introduces recurring elements at strong potential of imagination:
> The house. Seemingly banal and identical to all the others but single for each one, shelter of the close friend.
> The building is the same idea but with power X.
> And then there is also the hut out of wooden of Maine, large or small it is always there, remains and workshop of a painter who succeeds in being known without leaving at his place... it appears there as could the being a portrait in homage to what will be able to exist never again.
> The bird is often there: its choice is sometimes random, lark, duck or other. Its only presence evokes the flight, the voyage, the movement, the displacement of a point with another, freedom but also the necessary rest, on a building.
> The representation of the plane is often present there too a bird at power X.
> Another element, the way with a small house with the end, which punctuates the fabric, as a point which puts a term at a sentence. It underlines the end of the history but also the beginning of another, the limit of the horizon but the beginning of another. It is the element which only brings back to us to him to all the history of art, with old because it is him which marks the break point that all the painters affectionnent. This famous break point thanks to which Canaletto showed us any Venice and its whole lagoon on 2m2. .celui which transforms the painter into magician with successive plans which are connected until the infinite one. It is the point referent of stability on which the spectator of today can reassure himself.

Oddly, I looked at an infinite time all these fabrics and I was persuaded, by writing these lines, that there were outlined characters, the human ones. It was necessary that I re-examine the scenes. Not, not of silhouettes, I will have sworn it however. This reflection finally reflects exactly the feeling which I have with regard to this astonishing painting. It is destabilizing, intrigante, news, with, over all, a cordial universe which is released from the proposal, it is alive fills up of a beautiful humanity.

 

Beatrice Chassepot
June 4th, 2007

+ of images, visit the site of the gallery Patricia Dorfmann clik here