Franck Eon

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.