ARTIST
Jean-Pierre Sergent, Franche-Comte home, spent twelve years in New York. That brand. The painter uses the best tools to practice his art, namely, computer, graphics tablet, screen, Plexiglas ...
pop influences? Yes, of course. Rauschenberg, Warhol, Lichtenstein but beware, these similarities are merely formal and techniques. Because if the pop art is the reflection of the consumer society, painting by Jean-Pierre Sergent does not represent specific claims, just energy.
Energy, JP Sergent draws from the iconography of the world's great civilizations (Egyptian sarcophagi, geometry Navaro, Maya vase, Aztec skull), but also in more contemporary art forms such as urban graffiti, or other arts "exotic" (Japanese prints, Tibetan mandalas, Indian miniatures ...) as many patterns, patterns that feed her work.
The artist is interested in rock art, persistence and overlapping patterns throughout the ages. Long, his inspiration was driven in the arts of pre-Columbian civilizations of Central America, including the Mayan Diary series, begun in 2000. More recently, his work focuses on the Japanese manga and yantras * Hindus.
With silkscreen technique as a means of repetition and layering, the artist seeks to achieve a state of trance, to vibrate energy. An energy capable of confronting the order and chaos. The frequent representation of sexuality in his work evokes the ritual of sex as a vital energy research, regeneration, "a creation of the world." The representation of sexual attributes, male or female, returns to the ancestral gods, pray for fertility, the renewal of life, the proper course of things ...
paintings of Jean-Pierre Sergent waves are like stained-sensitive and magnetic energy systems, flashes shamanic icons timeless, magical and transcendental.
Frédérique Foulla
Sergeant Jean Pierre presents his works from April 28 to June 26 at the gallery "My Wolf" at 10 rue Pasteur in Besançon.
* Yantra: Hindu geometrical figure traced to tame the mind and master the cosmic forces.
Top, Mayan Diary, 2008
Bottom Bondage and Freedom No. 3, 2003
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