Yves Monnet

Inspiration… Expiration!

First of all, I envy the painters who explain cleverly what they do; in my case I don't see how I could explain what I'm painting since I don't know with each painting what I'm going to do; I note and I simply imagine that what I paint is undoubtedly due to my fascination since always for the universe, the planets and their composition.

And it was when I started painting that I discovered that my biggest inspiration came from the minerals in their structure, shapes and colors.

And it was by observing them closely that I compared and found that their colors and shapes are very similar, whether in the world of the macrocosm or the microcosm, they seem to be moved by the same force.

I then looked at the original Chaos and therefore what affects volcanoes and what comes out of them. So I came to the conclusion that I was probably painting instinctively, the scars of the earth ... the Lava, the stones that take me to infinite horizons that lead me to discover terrestrial or extra-imaginary landscapes. terrestrial.

So I discovered by chance that part of my approach corresponded to a Chinese philosophy of "Yin and Yun" based on Original Chaos, of which here are some words of the famous Chinese painter "SHI TAO" (painter of the 16th century) on the birth of the rules of "L'Unique Trait de Pinceau". For my part, I would say that "The Unique Brush Stroke" applies to painting in general and that its conclusion is rather encouraging.

In the highest antiquity there were no rules: the "Supreme Simplicity" had not yet divided. As soon as the "Supreme Simplicity" is divided, the Rule is established and is based on "The Unique Brush Stroke".

"The Unique Brush Stroke" is the origin of all things, the root of all phenomena: its function is manifest for the spirit hidden in man, but the common people ignore it. It is by oneself that one must establish the Rule of the "Unique Brush Stroke".

The Foundation of the Rule of "The Unique Brush Stroke" lies in the absence of rules which thus generates the rule; and the Rule thus obtained embraces the multiplicity of rules.

My work is a succession of nuanced "misshapen forms". In this process, expression is transmitted through "misshapen forms" to become "a form of expression."

In my work it is not the mental representation of our world that is "formed." I wanted it "deformed" There are no objects or figures that can be identified in these paintings. The misshapen forms are not really delimited or are delimited by colors and textures, either in strong contrast or in nuanced colors and textures.

Each painting has its own organization, its own personality, its own harmonic or disharmonic style, its own kind of fragmentation, which varies from sharp and angular to gently or very curved — just as each individual has their own perspective and view of the world.

On the other hand, the artistic value of these forms remains ambiguous and any particular interpretation remains subjective. There is no specific meaning or unique symbolism objectively attributable to the distribution of these colorful "misshapen".

In these paintings, the textures that capture and enclose the different colors appear to be at the same time random and intentionally organized. They are juxtaposed and superimposed, arranged on a two-dimensional surface to create a three-dimensional effect if possible. These color-filled spaces resist platitudes and defy predictability, as each painting is constructed in a unique configuration with its own character to convey a "personal" mindset.