Prezentare Demers Artistic

It exists in the etchings, inks, prints Marina Nicolaev a strange harmony. Mass forms that arise leaves emerge a world organic (plant or „animal). Hence the appearance of a set of visual sensations to both coordination and contrasts within the swarm. Counterweight, swaying, ” incest ” many and varied produce the modulation of a new body exists. Reality arises in the particular matter that is the artist to reveal his tormented inner landscapes, nostalgic, beset by monsters of the past or of mourning. Desire or venous blood everything is there: rings run a large mixing united and comprehensive seething mass whose parts are held together.(…)
The artist wants All that is past is past, but the past is not consumed any yet. The artist searches the corners but that his nostalgia is no longer what it was. This is all the evil that he wants. She seems to look another flesh but his work is as much a repetition that duplication. Its beautiful etchings become for us as a way to gallop along the autumn finding a savage force. We must press on to find the time to look for a resurrection in gestation. Each work is therefore an attempt to open and slide into the trees as in the body and finally accept to be who we are. Especially in what remains the most accurate and the most concrete vision emerges a cosmic being of its relation to the world with all the light and the darkness which it precedes.

Jean-Paul Gavard-Perret

Born in 1947 in Chambéry, Jean-Paul Gavard-Perret is a lecturer in communications at the University of Savoie. He pursued a literary reflection punctuated already twenty books and contributes to several journals.

Prezentare Demers Artistic

It exists in the etchings, inks, prints Marina Nicolaev a strange harmony. Mass forms that arise leaves emerge a world organic (plant or „animal). Hence the appearance of a set of visual sensations to both coordination and contrasts within the swarm. Counterweight, swaying, ” incest ” many and varied produce the modulation of a new body exists. Reality arises in the particular matter that is the artist to reveal his tormented inner landscapes, nostalgic, beset by monsters of the past or of mourning. Desire or venous blood everything is there: rings run a large mixing united and comprehensive seething mass whose parts are held together.(…)
The artist wants All that is past is past, but the past is not consumed any yet. The artist searches the corners but that his nostalgia is no longer what it was. This is all the evil that he wants. She seems to look another flesh but his work is as much a repetition that duplication. Its beautiful etchings become for us as a way to gallop along the autumn finding a savage force. We must press on to find the time to look for a resurrection in gestation. Each work is therefore an attempt to open and slide into the trees as in the body and finally accept to be who we are. Especially in what remains the most accurate and the most concrete vision emerges a cosmic being of its relation to the world with all the light and the darkness which it precedes.

Jean-Paul Gavard-Perret

Born in 1947 in Chambéry, Jean-Paul Gavard-Perret is a lecturer in communications at the University of Savoie. He pursued a literary reflection punctuated already twenty books and contributes to several journals.