Traversée 2 (Bas Relief), 2018

Sezny Peron  

Its black plates of immensity.

Black is its inhabited territory, and even the lights that strike the slate, its living material, are opaque. “Starting from black, getting out of the hole, and tapping into matter“. Sezny Peron infinitely disturbs the rigorous framework of an initial primitive form. He used to work, in direct carving, the wood carved by his cabinetmaker father. Sculptures in the round. Then abstraction approached. One could guess the distant influences of a Marfaing or a Soulages. And the slate came, born from old quarries in the Black Mountains of Brittany… “Some slates have survived, and come from the roofs of men, after contact with the wind, rain and frost“. Material and human memory embrace each other raw in these works cut with a scalpel. Art of momentum, lines, and openness, with linear structures that are sometimes implacable, sometimes fragile, “which wobble and which vibrate“. Sezny Peron starts from an initial structure that seems simple, or rather simplified, to then subtly disturb it, without ever upsetting it. Chaos is not his forte, and with him, creation tells and respects the enigma of creation...

In this timeless and silent work, “stones that defy time” emerge. We therefore see the scars of universes, rich in flows, breaths and currents, and absorbing, or even blind, mirrors of intimate humanity. Sezny Peron creates pure, dark waves of expanse marked with sensual folds, even sexual slits. Split space expresses itself in faulted millennia that would delve into the infinite power of darkness. Lyricism however restrained, and always modest, sometimes nicely hermetic. Stony and secret sensitivity, crossing gaps.
The plastic vocabulary of Sezny Peron is astonishing in its sobriety, formal decantation, and mental stripping. Dazzling austerity. Language of nudity.

Cosmic Mandalas

Each work is a hunt for immensity. A grip of dark and primal forces. A vise of formidable energies linked together by gateways of hard material with chiselled and finely defined shapes. Cosmic mandalas.
Each work is a jolt of extension. With rocking sections of space that respond to each other like a primordial sound that would have no end and whose vibrations would cross the entire universe. Each work thus gives the appearance of a fabulous stopped movement.
This painting-sculpture (or if you like this sculpture-painting, as the differences expected here are reduced) seems to be born of a prodigious burying of the soul, and at the same contradictory time, we believe we perceive the liberation of inner tensions exorcised. Ambiguous and ambivalent register: an outside-in movement is essential, with carnal connotations that are both obvious and distanced.

We must return to the absolute presence of slate black in Sezny Peron. Black lights take the world from within, internalize everything, and all sensitivity. Would be the hidden source of all origins. The night always begins again. Obscure and vertical signs create another space where unfold all the unspoken of our secret lives. Sezny Peron makes emptiness and non-light breathe royally. There is no shadow in this haunting mineral purity. Incredible chromatic deprivation.
Immaculate craftsmanship.
Christian Noorbergen