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Franck Eon, Schmatz

Franck Eon Schmatz , 2017

View in a room Painting 70.9 x 70.9 x 1.2 inch Unique artwork


+$1,824 Delivery fees for United States Delivery : Three to four weeks

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Franck Eon, Schmatz
  • Offered by the gallery

    Galerie Thomas Bernard - Cortex Athletico
    Paris - France

  • Authenticity

    Work sold without a certificate of authenticity

  • Signature

    Signed artwork

  • Medium

    Painting : Acrylic on canvas

  • Type

    Unique work

  • Dimensions cm | inch

    70.9 x 70.9 x 1.2 inch

  • Framing

    Not framed

  • About the artwork

    At the origin of each Frank Eon's painting, the question of apparition comes up. And in this series, recent, new, the solution that was found is the colour. Far from performing again an intimate quest of a personal palette or from exposing the ecstasy of a colourist, it acts rather as an internal lighting. The colour, as an immanent conductor, gives structure and autonomy to the work.

    It is there, as a vital force that ensures the architecture and the existence per se of the painting. Without it, no life, no sight. Thus, so to speak, there is no subject. Or rather, only one: the colour as the vector of materiality. The figurative architectural elements have left the canvas. Only a few circles come to settle and to move on it. A bit in the manner of a sentence being dictated.

    The round forms are sensible fragments, scraps of an elementary intimate language, as much as syntactic units that only the artist would recognise. At the source of these new pictorial creations, is the expression of an artist making one with his gesture. Then, saying means taking action, we would be tempted to affirm with Austin, because, there is truly something in Franck Eon's painting resembling to a statement, the meaning of which we would willingly pierce and sound out, by a visual examination, to start with.

    - Léa Chauvel-Lévy

    • abstract


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Franck Eon

Born in: 1961


Emergent Artist

Translation in progress

Each pictorial intention of Franck Eon proceeds in two manners: an analytic deconstruction of imagery taken from art history or from extracts of pop culture, and the fragmental composition of these various elements.

The utilization of these citations allows the spectator to identify with the work at differing levels. This identification can be total and immediate, on the verge of parody (Série SP, Derrick, Podiums), or it can be partial, in which case the identification of the appropriated elements become fragmented and diversified. In this latter case, the understanding of the work is conditioned through its iconographic construction.

This attitude creates a difficulty in the reading of a formal coherence in each of these « paintings » due to the fact that the only common dominator is the artist's creative process. And thus distancing us from the notion of the original. Once this method is established, the painting becomes primarily the synthesis of a preparatory reflection. Even the painted object's materiality is reduced to a question of choice: certain work is expressed on canvas, while other work is capable of evacuating this medium; finding its form through video, digital prints (where the ideas of assembly are understandable), and collage (where assembly becomes literal).

The core of this process, estranged from the artist's jest, is to create distence. A retreat that is present in a certain series of wall-paintings, where the subtlety applied paint becomes a ghost-like presence that is easily confused with the actual walls of the space, and in the drugged « paintings » that utilize a combined system as their primary constructive principal. Painting for Franck Eon is the placement of a screen, a surface of projection that is capable of proposing new images without looking for originality at any price.

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Franck Eon, Schmatz
Franck Eon, Schmatz Franck Eon, Schmatz

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