The earth always brings me back to drawing as drawing always brings me back to earth. Unless I try to draw in space with the earth.
The art of Pierre Martinon is one of those who put in difficulty a famous word of Victor Hugo: "The form is the bottom brought to the surface". These sculptures are constructions, they were mounted from their ground, unit by unit of land, like bricks for a house.
These forms, which have no different background from them, are physically hollow but aesthetically full: who would guess the existence of an interior space (the one that allowed cooking without cracks or splinters) by seeing them? A thin metallic film, to which the fire has given copper and amber reflections and a complexion, sometimes even to the burnt, takes these forms of earth which impose, beside those of the nature and the technique, the presence of a third world, that of art, as powerful as the other two.
For a long time, the statue was the privileged, even unique, form of sculpture when it was not limited to being purely decorative. The sculptures here exhibited by Pierre Martinon are not statues, they would even avoid this "temptation". On the other hand, they never cease to sign towards architecture and painting, so that they reconcile in their simple size the three great visual arts. "
A great work of art is recognized by the feeling of strangeness that it can arouse in us. Gold narrated memory of references continues to suggest us reminders, as if the most urgent task was to escape the present impression. The discovery of arrears does not go without some cultivated amnesia. Pierre Martinon is one of those rare artists today who have not given up creating a style for the simple invention of a process. He does not particularly want to be recognized, in a sense that we will take this word. And since he does not belong to any school, to any movement stamped with a label, he works in a sort of incredible self-denial.
Works by this designer
As for terracotta plaques, they too are extraordinary engraved paintings where gray and ochres recomposed quiet, incredibly inventive ensembles.
Here again, if we think we recognize a tree leaf or a stone slab, or some of the motifs of the aborigines of Australia, it is by virtue of lazy analogies that prevent us from seeing what may be absolutely new. these forms without figure resulting from a work of a rigorous rigor.