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By refusing any literal representation, the idea consists in rediscovering the effervescence of the foliage, the power displayed by the means of painting. It is about going beyond representation, to transcend it to give to see, to suggest, the energy and the power of nature which brings the human being back to a simple piece of nature. By seeking to paint, not the thing itself, the sheet, but what is around, to let it more or less appear, like a… body that reveals itself, this makes it possible to register in the renewal of a painting-drawing or a drawing-painting, the two being inextricably intertwined. The rich colourist work associated with the very free reserve drawing is the essence of the research. Transparencies, the use of oil, acrylic, Indian ink are the means to achieve this.
Jean-Jacques Pigeon is a French painter born in 1955 in Niort and currently living in Anjou. Holding a doctorate in Art History on duality in painting, he is particularly known for his work focusing on trees, wood, and plants in general. During his artistic training at the Beaux-Arts in Poitiers and later at an art school in Poitiers, an artist-teacher, a follower of the Bauhaus and the color black, and a friend of the artists in the BMPT group (Buren, Mosset, Parmentier, Toroni), definitively introduced him to art through the lens of artistic research. The works of Simon Hantaï, the paradoxical pieces of Jean Dubuffet, as well as those of the American Minimalists and the site-specific work of Daniel Buren, would nourish both his thought and his practice. Drawing strength from these encounters, and convinced that art is a place for experimentation and reflection, he prioritizes above all a sensitive approach, where the emotion evoked is paramount.