Fabien Yvon

This paintings, prints and drawings are, above all, mental images. At the very moment of the production memories of experiences, landscapes observed while driving and artwork recollections mix up. Met on the museum's walls or between the pages of books, Richter, Turner, Boudin, or even Victor Hugo, nourish the memories of real landscapes. Pictures took while driving, never used directly, have the same input and depth accumulation function.

The landscapes arise from the meeting between this mental images and the marks left by some technical gesture. Paintbrush, rag, windscreen wiper, plastic ruller, window wiper, or any within easy reach object allows to strech the paint on the canvas, to lash, to sponge, to erase, to scrub. Random leaves margins, surprises, the stand allows a recovery. The gesture is much more precise, anticipated and controled for the prints and the drawings. The tool demands more precision while always leaving a leeway to indecisiveness. The knowledge of a medium feeds the relationship to another.

Complete absence of architecture, or human track, even if the word “landscape" structure the compositions. Often it is two horizontals parts, more or less distinct, without any certitude of scale, where the sky might become the sea. Sometimes, the image is clearer, the projection more accurate, it may invite you to remember or recognize a landscape. The usual vocabulary, mountains, clouds, mineral or aquatic effect, comes to meet the matters, hatches, dots, superpositions effects and gathers it in the unity of a nearly precise landscape evocation.