“The paintings presented here are void of the human figure as the drama is situated in
the landscape itself, shaped by traces of human occupation. These subjects, often
disgraced, or already condemned, need, for me, to be painted in their grotesque state.
The large format canvases become a means, by rendering the negligible significant, of
allowing the antiquated form of landscape painting a contemporary relevance.
Painting maintains the same impact for a fragmentary subject as photography. It’s by
the adopted process that photography, always present in the smallest details of the
work, continues to recall something seen. As underlined mainly by their toponymic
titles, each work is, if not completely naturalist, at least realistic, and preserves the
quality of photography as an objective document.
However, these landscapes are also fantasized and mnemonic. The lighting is not
natural, and the colors are sometimes entirely recomposed, in isolated areas or
sometimes across the whole painting. A certain freedom, expanded from photography,
enables me to develop an autonomous pictorial logic, one that arises from memory, as
well as the emotional resonance of melancholy.” — Michel Perot