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According to the season

The spring-2, 2020

 Like a slate setting 


With the large format, exploring the potential of the range of values and hue ratios to serve a composition of complex absolute shapes is a welcome surprise.

It seemed fair to place the picture below in the table, a grey-blue setting like the slate of the Mosan country. That underlines my point of view in light dive. 

In exhibitions or interiors, the hanging of paintings does not always respect the horizon line of the landscape

Too low or too high, the work does not reveal its truth.


With the seasons

This wooden painting is the first in the series The Four Seasons. Small formats help me fine-tune my plastic vocabulary before transposing it to a large format.

The panoramic view expresses well the course of time and space. It also allows to work well the light and color of each season. This format also corresponds to my scope of consciousness, at the same time as my need to include long time in the perception of the painting.

The spring-1, 2020

Path of the climbers, 2020

The joy of style

With this painting, I wanted to deepen the potential of the range of greens valued by a complementary range. The contrast, softened by the transition shades finely degraded by white, widens the palette. A few glazes in the half-fee offer a mystery to the whole work.

The respect of the drying time between each session (ten days minimum), requires patience; therefore, I always have several canvases under construction.


Carried by the real

The avenue, seen from my balcony, inspires me according to the seasons. It is the opposite of Mount Sainte-Victoire; Cézanne saw his motive at ground level; I see him out of the ground...

With Avenue-2, in construction, I know the limit of abstraction, I stop just before killing the image. But I think it will still take a lot of imagination for the viewer to see it...

Nevertheless, the plastic idea is still guessing.

The Avenue-1, 2020

Dusk, 2020

Between dog and wolf

After its disappearance behind the horizon, the Sun abandons the landscape to a palette of colors with similar values, where all cats seem grey. What a challenge for the painter!

To restore his state of mind, the painter invent a range of colors from a blue dominant. The city lights then serve as an integrated contrast.


Full engagement

In the evening, when the sun dances on the Haute-Meuse, the presence of the four elements (Fire, Water, Air, Earth) always offers me a spectacle, both banal and exceptional.

With Mosan Blues, I also evoke the sound of a tranquil landscape heckled by the rattling of the birds' flight.

Even if painting is a silent art, the artist observes reality with all its psycho-physiological attributes.

By accepting more willingly the inspiration from my unconscious, my style evolves from work to work by bartering the dolorist side of painting for the joy of painting.



Mosan Blues, 2020

Practice

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To see all catalogued works, type Francis or Gengoux.

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