Conjonction Manifesto

Georges Koutsandréou 2007

2007 " Bouzouki " 81x65 dust of acrylic on canvas

2007 " Peintre " 100x81 dust of acrylic on canvas

2007 " Femme eclair au bouquet " 81x65 dust of acrylic on canvas

Martina Charbonnel : artworks 2007

2007 : rectangular targets "cible 10" 100 cm x 100 cm acrylic on canvas

2007 : rectangular targets "cible 11 "81 cm x 65 cm acrylic on canvas

2007 : rectangular targets "cible 12 "100 cm x 81cm acrylic on canvas

Second phase of the movement Figuration supranaïve

Georges Koutsandreou " 2007 oval target : " ski nautique 81x65

Perpendicular conjunction of the passages :

We assert that passage of the figure over the rectangular format is in a perpendicular conjunction with the second passage through the canvas ( in two dimensions) by the target symbolizing tunnel effect.

At the start of 2005, we published the first assertions of Supranaive Figuration to Internet. Two years later, the movement enters in a second phase, adding a new concept to the previous ones. (April 2007 )

We firstly asserted : While “ declaring” space, the passage of the figure over the rectangular format expresses third dimension without using perspective.

We add to the first passage of the figure a second one by target to tunnel effect.

To understand this new concept requires to call to mind Kenneth Noland ‘s targets implying the idea of the passage by tunnel effect i.e a passage through the canvas towards “another universe” ( conceptually speaking and in scientific anticipation).

Scientists would demontrate tunnel effect with spiral example Target is pictorial representation of spiral in only two dimensions; It is a way to express depth without recourse to perspective

Supranaive Figuration applies this concept to figuration.

In both pictorial processes we newly express passage of the figure into “another universe”by means of tunnel effect target from which figure is passing “through” the canvas.

In Georges Koutsandréou‘ s new painting tunnel effect targets are oval . Rotating speed of tunnel is added by unevennes of ellipsoïdal rings..

In Martina Charbonnel’s new artworks, tunnel effect targets are rectangular. Her recent paintings represent a detail of center of target. Difference of colours between the epicentre and the target sides is showing different consistencies of tunnel walls.

In both cases, there is a perpendicular conjunction of figural passage over the format with passage “ going inland” ( by tunnel effect target ) through the canvas ( the format).

That perpendicular conjunction over and through the rectangular format is a fundamantal assertion, which never has been applied into painting not even in abstract.

Georges Koutsandréou's new artworks

2007 " bocal" 81x65 dust of acrylic on canvas

2007 "entonoir " 100x81 dust of acrylic on canvas

2007 " Marchande de violettes" 100x81 dust of acrylic on canvas

Martina Charbonnel 's new artworks

2007 "cible rectangulaire 4 " 100 x81 acrylic on canvas

2007 "cible 7 "95x75 acrylic on canvas

2007" cible 6 "100x70 acrylic on canvas

Georges Koutsandréou 's oval targets

G Koutsandréou 2007 " collier" : 100x81 oval target to tunnel effect dust of acrylic on canvas

G Koutsandréou 2007" réveil" 100x81 oval target to tunnel effect dust of acrylic on canvas

G Koutsandréou 2007 " Maçon " 81x65 oval target to tunnel effect dust of acrylic on canvas

Martina's Charbonnel rectangular targets

Martina Charbonnel 2007 rectangular cibles " simple 15 "100x81 acrylic on canvas

Martina Charbonnel 2007 rectangular cibles " simple 16 "100x70 acrylic on canvas

Martina Charbonnel 2007 rectangular cibles " simple 19 "100x70 acrylic on canvas

Interruptus coït

How can I speak about my painting? May be disconcerting, it seems neither concerned by the "return of beauty"nor included among those which immediatly touch the sensibility of the beholder. The coldness of concept disturbs the references of figuration.

I don't want here to speak longer about " passage, which was amply developped in other texts.

However, several evolutions have intervened since my first artworks in Figutation supra-naîve. in 2004.

An important turning point was when I left; the straight line crossing the canvas as axis of the figures. From the series " Metros" in 2005, the axis became curved.

The series " Sillages " (2006) marks another important change in my pictorial process. Here and there around the curved axis, the absence of colour brings about an effect of wake, which is crossing the rectangle faster than figural motif.

My silhouettes are mo more painted. This is another change in my “ sillages”. How can they appear in 3D when they are not even more painted? According the force of the concept, the mould of the silhouettes crossing (volumic vacuum) is in 3D?

My last series “Rectangles figurés” keeps the same concept, which is applied to the traditional window (the picture). While crossing on the rectangular edge, the non-painted silhouette becomes more volumic, frightening the impression to pass in front of a window.

From the series of “ sillages couples” the speed of the passing through is strengthening by the quickness of painting gesture. As a result a botched of look: brush strokes are visible and reduced to essential showing urgency to pictorial action and its speed of execution. This figurative minimalist lets a strange impression to me, like a sense of fulfilment or frustration.

As regards the abstraction until dematerialization of colour, any connection with expressionism is out of the question.

As a figurative painting it could became frightening. What remains of human being carried away in a cosmic vortex? However, my pictorial process is figurative seeing that it concerns the question of the representation of the person in the picture or more precisely its crossing.

I am not really surprised when someone says he doesn’t feel anything, facing my painting, which appeals to reflection . As recently, I read a comment from an artist who thought that to create something new would be uncool. He may think so because artists succeeding in doing it are quite rare.

For certain artist it seems easier it is easier to make its own tackiness to the camp of original ideas.

Moreover, this artist said to prefer works of art making sense. However it is possible to find anything making more sense than a conceptual artwork. Is rally meditation about painting out of sense?

Is artistic thoughts became useless? Why does concept to be so antinomic with painting? Each artist must decide if he wants to be an inventor or a follower. While I can find quite unpleasant to finish a picture without any burst stroke on the pattern, this interruptus coït finds its transcendence by the concept therefore my painting becomes spiritual.

Martina Charbonnel 2006 Sillages couplés : « passe-vue » acrylique sur toile