PHILIPPE PASQUA.
EXPLOSIVE PHYSICAL SHOCK
PHILIPPE PASQUA. EXPLOSIVE PHYSICAL SHOCK Art Market Magazine GOLD LIST Special Edition #4
Philippe Pasqua is a French painter and sculptor known for his brushy, expressive depictions of nudes and faces. He was born in 1965 in Grasse, France, and began painting at the age of 18 using industrial paints and materials. His work has been noted for its similarity to Jenny Saville, and is influenced by both Lucian Freud and Francis Bacon, showcasing intense facial emotions or intimate acts of the body. The artist is also known for his series of skull and butterfly sculptures made out of precious metals. In 2010, Pasqua founded The Storage, a garden and a former warehouse building to showcase contemporary art located just outside of Paris. The artist participated in the 53rd Venice Biennale, and has had a solo show at the UNIX gallery in New York. He lives in Paris, France.
Through his extraordinary journey, Philippe Pasqua has emerged as one of the major artists of his generation. From the beginning, his art made a great impression and challenged the certainties of those who rubbed shoulders with him, like the great critic Pierre Restany.
With Pasqua, the taste for the monumental goes hand in hand with an attraction towards what is most vulnerable – bodies and faces, sometimes with stigmatizing differences that the artist adopts and magnifies through his painting: for example, portraits of transsexuals, trisomy, or the blind. Handicaps, differences, obscenity or the sacred: each canvas is the fruit of a struggle, a tension between what can be shown and “tolerated”, and what is socially repressed or obscured.
PHILIPPE PASQUA. EXPLOSIVE PHYSICAL SHOCK Art Market Magazine GOLD LIST Special Edition #4
Pasqua’s painting is received as a physical shock but also as a vision that is both explosive and incisive. The monumental format of the artist’s canvases is dictated by the breadth of his gestures – a dance where brutality and finesse, trance and lucidity alternate. He begins by painting the sort of fetishes or enigmatic silhouettes that evoke voodoo. Then, gradually, his gaze turns to those who are standing around him. He interferes with the twists and turns of people’s intimate depths, going right into the innermost areas of their being. As a counterpoint to this physical work, there are his grand drawings. The face or the body becomes a halo, mist, smoke, stroke, vibration. It is no longer so much a case of flesh as of sketched contours and delicate textures.
Philippe Pasqua. Olive Tree. Chrome Plated Bronze. 265x160x150 cm. 2017
There are also the “palimpsests” – works on paper mixing silk-painting techniques, printing and painting, where the painter goes back over his own work and adds patches of color to them or redesigns them.
Another major aspect of Pasqua’s work lies in his series of “Vanities”. The technique employed evokes that of a goldsmith of the Middle Ages working on a reliquary, and also some kind of shamanic ritual. He covers human skulls with gold or silver leaves. Sometimes he pours liquid paint, he covers them in skins and then tattoos them. Then there is the delicate stage where the skulls are decorated with preserved butterflies, with their outstretched wings and their iridescent colors: the light is refracted on their colored, powdery surface, or falls into the deep shadows in the eye sockets. He also sometimes pours liquid paint in a thick stream that covers everything and submerges it.
In recent years, the artist has also been going to Carrara frequently, where he sculpts skulls weighing several tons that are like massive stars radiating telluric energy.
At the foundry, he produces large bronze casts that are then plunged into baths of chrome. The skulls that emerge — human or animal, like that of the hippopotamus — become like mirrors: sometimes you only see their blinding reflection, sometimes they disappear, so that what they are reflecting emerges. And on approaching them, inevitably it is our own image that we see.
Philippe Pasqua. Skull with Butterflies. Bronze. 165x115x115 cm. 2015
Read the Full article on The GOLD LIST Special Edition #4
