France
• 1939
Biography
After having studied at the School of Fine Arts of Bourges (1956-60), he disrupts the classical ortraditional act of painting.
Free from stretcher bars, the canvas is printed on by using what he callstools : natural objects (plants and insects), paper, ribbon, from 1971 onwards he uses ropes, string,knots. These tools replace the paintbrush to produce traces on the canvas. Around 1973, he begins aseries of burned works. Initially there are combustions on free canvas, then from 1979 to 1981, hestarts a series of burnings of which the support is nothing other than anonymous paintings ofprevious centuries -portraits, religious scenes - or more recent cinema advertising banners. Thecombustion attacks certain parts of the image and leaves others increasingly visible. A stay in Italyin 1984 leads to the birth of « the emitted red » (Le Rouge Emis), followed in 1989 by « burnings » (Brûlis) and of «supranodalconcept » (Concept supranodal) that he develops during the 90s. He was laureate of the Villa Kujuyama in Japan in 1994.
Since the 90s, Christian Jaccard continues his investigations touching upon the problematic of the painting following the fundamental choices he made at the end of the 60s. Since 2000, he often works outdoors, in the industrial wilderness, where the problematic of the painting emancipates itself, and the studio becomes a nomad and ephemeral laboratory.
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Free from stretcher bars, the canvas is printed on by using what he callstools : natural objects (plants and insects), paper, ribbon, from 1971 onwards he uses ropes, string,knots. These tools replace the paintbrush to produce traces on the canvas. Around 1973, he begins aseries of burned works. Initially there are combustions on free canvas, then from 1979 to 1981, hestarts a series of burnings of which the support is nothing other than anonymous paintings ofprevious centuries -portraits, religious scenes - or more recent cinema advertising banners. Thecombustion attacks certain parts of the image and leaves others increasingly visible. A stay in Italyin 1984 leads to the birth of « the emitted red » (Le Rouge Emis), followed in 1989 by « burnings » (Brûlis) and of «supranodalconcept » (Concept supranodal) that he develops during the 90s. He was laureate of the Villa Kujuyama in Japan in 1994.
Since the 90s, Christian Jaccard continues his investigations touching upon the problematic of the painting following the fundamental choices he made at the end of the 60s. Since 2000, he often works outdoors, in the industrial wilderness, where the problematic of the painting emancipates itself, and the studio becomes a nomad and ephemeral laboratory.
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