Jean-Pierre Craninx
My painting is the visible face of the black and luminous iceberg of my emotions
I define myself as an abstract painter of the black. More precisely, of the light and the black.
I approach this theme without any biaises, by rejecting the negative image that is too often conveyed by this color, wise marriage of all others or, absolute absence of them.
I invite you to do likewise to discover my universe.
Beyond studies at the school of fine arts, my work is the result of a multitude of experiments, discoveries, appropriations of very diverse techniques, sometimes very distant from the artistic world.
I approach this theme without any biaises, by rejecting the negative image that is too often conveyed by this color, wise marriage of all others or, absolute absence of them.
I invite you to do likewise to discover my universe.
Beyond studies at the school of fine arts, my work is the result of a multitude of experiments, discoveries, appropriations of very diverse techniques, sometimes very distant from the artistic world.
But why black ?
It is quite clear… For the light.
Either in an attempt to make it mine, while imagining capturing it with powerful matters, or for the magic of its reflection provided by the depths and the nobility of precious lacquers and varnishes.
In short, for the pleasure of becoming its accomplice in its endless peregrinations.
The judicious use of black pictural matter allows, according to me, to stage the light in a fashion that is impossible to achieve with any other color.
The light then becomes the principal actor, the painter changing himself into a director attempting to impose an imperfect scenario to a magisterial comedian with infinite talent.
It is quite clear… For the light.
Either in an attempt to make it mine, while imagining capturing it with powerful matters, or for the magic of its reflection provided by the depths and the nobility of precious lacquers and varnishes.
In short, for the pleasure of becoming its accomplice in its endless peregrinations.
The judicious use of black pictural matter allows, according to me, to stage the light in a fashion that is impossible to achieve with any other color.
The light then becomes the principal actor, the painter changing himself into a director attempting to impose an imperfect scenario to a magisterial comedian with infinite talent.
Furthermore, the artwork will necessarily remain unique. It will escape its author as the spectacle it offers will depend on countless factors. Whether it is the prestigious capacities of the actor or the spectators’ attitude.
Indeed, the light revealed, has the power to endlessly transform the proposed oeuvre. It only takes changing, even very slightly, its characteristics or the positioning of the observer, for the metamorphosis to take place under our eyes.
The painter Pierre Soulages made these discoveries many years ago. He presents them in its work in a magisterial way. As such, I think of him as being the initiator of a real artistic movement to which I cannot withhold adhering.
Indeed, the light revealed, has the power to endlessly transform the proposed oeuvre. It only takes changing, even very slightly, its characteristics or the positioning of the observer, for the metamorphosis to take place under our eyes.
The painter Pierre Soulages made these discoveries many years ago. He presents them in its work in a magisterial way. As such, I think of him as being the initiator of a real artistic movement to which I cannot withhold adhering.
Nevertheless, I believe to be differentiating myself from him through certain characteristics that stem from my personal development.
So, unlike Pierre Soulages, I think of my approach as being less minimalistic. It is not rare, for example, that I use more than five distinct blacks within one same composition. I impose myself very few constraints, few rules susceptible to hinder my freedom of expression when it goes about the use of all the black spectrum.
Another aspect of my work is the use of very powerful contrasts between bright blacks and very absorbing matts, that emphasize the “presence” of the painting.
I then love the attraction that the painting can provoke in its environment by making it more present through putting some blacks in “vibration” next to one another.
So, unlike Pierre Soulages, I think of my approach as being less minimalistic. It is not rare, for example, that I use more than five distinct blacks within one same composition. I impose myself very few constraints, few rules susceptible to hinder my freedom of expression when it goes about the use of all the black spectrum.
Another aspect of my work is the use of very powerful contrasts between bright blacks and very absorbing matts, that emphasize the “presence” of the painting.
I then love the attraction that the painting can provoke in its environment by making it more present through putting some blacks in “vibration” next to one another.
My approach suggests the search for specific blacks. But the pictural matters, of which a certain number of recipes are mine, are not enough to propose them. The depths, the structures, the underlying materials all have the same importance and are part of my explorations.
Finally, my nature, my background perhaps, imposes on me to imagine the main part of the painting before realizing it. The latter is partly constructed, thought, drawn or mentally prepared before its realization. So that I leave little space for improvisation, at least at the beginning… Indeed, the final outcome is sometimes very remote from the original idea. The unforeseen events, the emotions, the state of mind and the instant discoveries make for an integral part of my work.
Finally, my nature, my background perhaps, imposes on me to imagine the main part of the painting before realizing it. The latter is partly constructed, thought, drawn or mentally prepared before its realization. So that I leave little space for improvisation, at least at the beginning… Indeed, the final outcome is sometimes very remote from the original idea. The unforeseen events, the emotions, the state of mind and the instant discoveries make for an integral part of my work.
