FRENCH ARTIST IN HIS ORIENTAL PERIOD
By Jenny Hammond 2007-4-27
Shanghai Daily, China
April 27 2007
Bold canvases, sweeping writing, ghost-like faces and a large dash of
Asian influence – in the series of strong images, very close to Chinese
contemporary art, it is hard to believe a Frenchman is the artist.
This is the latest exhibition of Pierre Ohiguian, combining two themes:
faces and more graphic shapes, which he calls "purist graphicism."
"Taking the aesthetic nature of the human form and then moving over
to very simple graphic paintings, the idea is to have the most meaning
in less painting," says Ohiguian.
All the works in his solo show were created recently in China.
Ohiguian spent time in the country creating his Oriental-influenced
works.
"When people first see my paintings, they think they have been done
by a Chinese artist, but if they look longer they will see the Western
influence," he says.
Coming from the south of France, he has been visiting Shanghai off
and on for more than three years. "I really want to do something
important here, develop work that is technical and interesting."
Always having had a strong attraction to the Asian world, even his
surname is not completely European.
"Its origin is in Armenia, between the East and the West, which is
perhaps where my fascination for China comes from," Ohiguian says.
However, Armenian culture also plays a role in the creation, of
Ohiguian’s work.
"There are so many of this nationality living outside their country
that they feel as if they have no roots. This is why my paintings
are not fixed to a specific style.
"I pursued my reflection on the human condition. Nothing in man
is defined: his situation, his origins, not even his destiny. My
paintings do not have specific meanings, instead I hope to induce
emotions and pleasure, and inspire questions," he says.
During his stay in China, the calligraphy creation widened Ohiguian’s
horizons and gave him a glimpse of some answers in the pursuit of an
artistic ideal.
"It directed me to a new way: the translation of the gesture,
combined to an unconditioned thought. Thus, it has enriched my work
on gestures and instantaneity of movement to transcribe the power
of emotions. Acrylic painting allowed me to quickly transcribe the
expression of the gestures in different coats on canvas," he says.
Since then, the calligraphic gesture has always been part of his
paintings. He would like to learn the ancient art and combine it with
his own style to create something truly unique.
Now, the Western artist has a signature very reminiscent of a Chinese
character.
"The box holds every letter of my name but, like the writing in
my painting, they are not easily detectable to the eye. It is very
Chinese, which has developed since being here. This signature now
seems natural to me so it is the only one I use," he says.
The sweeping script written across many of his canvasses is in French,
but it is very stylized so it can no longer be read. "I used to put
the text horizontally but through being in China have adopted the
technique of writing vertically to offer new aspects to my work."
Finally, offering a last insight into his "art world," Ohiguian is
holding classes.
"I try not to just teach the technicalities but show how to feel
painting. Everyone has something inside them, no matter how shy or
reserved they are."
Always impressed by what his students can achieve, "I teach that
technique is not always everything, you can express yourself simply.
"I know painting is in my nature. By painting, I don’t tell my own
story; I try to describe life without words that limit it. This way,
I look into myself, not around," the artist says.
From: Emil Lazarian | Ararat NewsPress
