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From
1973 to nowadays, in the same way as the environment,
the body is interrogated
by its relation with elements and by the way
it can occupy the space limited
by the canvas stretcher.
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| "Soir de juin"-38x46cm-H7522
| Sometimes
put there, like a pebble covered with lichen,
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| "La main bleue"-33x46cm-H7418 |
sometimes
being wrapped, being covered and being even replaced by a cloth,
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| "Double rencontre"-89x130cm-H7908 |
sometimes
being split, in a close-up which obliges him to be isolated of the context,
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| "Plis de pied"-50x65cm-H7606 |
sometimes
being astutely "animated" by a sequential division,
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| "Nu avec un
tissu à fleurs"-130x89cm-H7823 |
sometimes
being "perturbed" by the presence of a mask, sometimes hardly suggested,
present only to do its contribution to the sensualism of its environment,
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| "La tempête"-114x195cm-H89003 |
the
body obeys the stream and the ebb of life.
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| "Inachevée"-89x130cm-H7901
|
The
head being mostly "off camera", it has all the more freedom to mean
its initial strength.
SEQUENTIAL
DRAWINGS
West
of Toulon, the city of La Seyne-sur-mer displays a sea harbour
not yet invaded
by yachts,
and a magnificent forest : the forest of Janas, along with beaches
with sand on small creeks between cliffs.
These drawings display the Fabrégas beach.
In the background "the Cliff of
the Two Brothers" can be seen.
When I was a teenager, you had to go down
amid masses of fallen schistose rocks
to reach it, and people could slide
and cut their arms or legs.
But on the beach there was hardly anyone.
Now a stair in the cliff allows to go there without risk; after the bath
it is all the same necessary to go back up, and time passed by since then!
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| "Elle dort
sous la falaise"-
drawing n°121-15 3/4x13 3/8
in. | "Elle
s'offre au soleil"-
drawing n°117-15 3/4x13
3/8 in. | "Elle
s'éveille au bord de mer"-drawing n°118-15 3/4x13
3/8 in. |
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| THE
SOFA |
| |
| | | The
sofa. Oil on canvas. 1982. (44 7/8x63 in.) |
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| dessin n°
269
"Etendue sur un canapé rayé" |
dessin n° 271
"Nu au canapé,
jambes pliées" | | |
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| dessin n°
279
"Buste et jambes sur le canapé" |
dessin n° 286
"Vue plongeante
sur un canapé" |
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| dessin n°
247
"Dans un hôtel à Gassin (près Saint-Tropez)" |
dessin n° 250
"Etendue
à Gassin" |
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| dessin n° 249
"Coucher
de soleil à Gassin" | dessin
n° 248
"Le soir tombe à Gassin" |
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| dessin n° 255
"Sur
la plage de Pampelonne à Saint-Tropez" | dessin
n° 257
"Sur la plage de Pampelonne à Saint-Tropez- n°2" |
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| THE
MASK | The
mask has convex cheeks, large nose and superior teeth forward.
The garment
is a worn pyjamas. The folds of the fabric, the folds of the skin
of the
stomach and the tie of bosoms in the armpit, the folds of the forehead
and
those of the middle - lengths hair,
hands hidden by wrinkled and pierced gloves.
The model is in hiding , squatted, dulled. The drawing locks her into a closed
space.
Does she feel well there, protected; does she feel at ease there?
Does she want to escape it and will she succeed?
Later, she will reappear
in an open space, but she is on a sort of elevator
which is not reassuring.
This adventure was recorded in several drawings and two canvases.
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| dessin n° 128 |
dessin n° 114 | | |
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| dessin n° 131 |
dessin n° 132 |
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| dessin n° 136 |
dessin n° 135 |
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| dessin n° 140 | |
| SPLIT
UP BODIES | The
purpose was to find a "passage" between the body and what its around him.
To show a perfect harmony between the body and its environment. To do not assign
to it more importance than the pebble,
the blade of grass, the lichen, the
bark, but join its together
in the same friendly glance.
To split it
up was the way to remove some emotional intensity and to consider him
as
simply as the other elements. These
paintings are the oldest that René Girot kept.
He destroyed almost all paintings
previous to this date. You
see : H75-17 (65x50 cm), H75-08 (54x73 cm), H75-23 (54x73 cm),
H74-12 (50x65 cm), H75-01 (56x77 cm) et H74-19 (46x32 cm). | Droits
de Reproduction Réservés |
