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Artists are fascinated by the white surface...
For me, it is an infinite beauty.
In the work-room where I lived in in the past, a vast and old disused factory, I managed exhibitions with virgin surfaces. There, solitary, vaguely anxious, I didn't grow tired in the contemplation of the pure surfaces. For hours, I was going and back, I didn't do nothing except to admire the whole of these no-pictures.
Today, as the past, at the moment when I am confronted with the virgin space, when I have to do the first movement, outline the first line, apply the first mark, my heart is contrained by a vague emotion wich slips into me as the moment when you have to open a door on the unknown.
Then, the first lines are putting in order a prelimary substructure, organise a rhythmic architecture. On this, I can apply a chaos of antinomies, irreducible at first, created by the dynamic imagination of the instant, instantaneous impulses, incouscious fantasies.
Thus, suddenly provoking the conflict on the restrictive surface, I have to overcome it then, to subdue it the original underlying organization, to catalyse better the pictorial energies. With the first movement, that would be a vaguely intention, is becoming an obvious reality. It is the materialization of the picture then, and not all the possible others, until then imaginable.
Harmony is being simply obvious, almost automatic. It has been organised in scales, has been becoming a violin scathing, brigthness of brass or kettledrums. It is a plastic explosion, fixed in a silent cacophony, pure colour process or serene metaphysical meditation of an internalized harmony.
Sometimes, even it is the simply and somptuous icy brigthness of the black and of the white, allways the dream in movement, inspiring jubilation of the sacred, a serene feeling of eternity.
Serge DELHOMME
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