The paradox of painting is that it is the most popular artistic form, the form most appreciated by collectors and therefore the form most sold – so hallowed that it is often considered the perfect incarnation of “Art.” And yet since the 1960s, painting has begun to lose visibility, becoming increasingly marginalized in favor of other art forms such as installation, performance, and video art.
Furthermore, the boundaries between artistic genres are constantly blurred, and the erosion of the traditional landmarks no longer allows us to clearly delineate the field of painting. Today, many artists practice painting among other disciplines. Works that are not paintings themselves examine and explore painting, analyzing its codes and gestures. Or the work is a painting that adapts itself to fit a space, bursting beyond the strict limits of the frame. Unprecedented practices emerge, born of the transgression of fixed genres and the act of pushing painting beyond its borders. Looking forward, techniques complement each other, are superimposed, layered. From the fusion of genres is born hybridization. Enriched by all the artistic languages, painting is now polymorphic.
Pictorial, the antithesis of a retrospective or an exhaustive panorama of Martinican painting, brings together artists who question the act of painting, privileging plastic artists who try to conquer new territories of painting by exploring and experimenting with it. They employ new tools, new pigments, new gestures, new relationships to space, mixed techniques.
These supports, techniques, gestures, and unusual materials echo the need to conquer the singularity of painting as an art form, and to renew and revive it. What is painting still, today, and what is it no longer? Is it still possible to speak of painting as a singular art form when artists are constantly inflecting it with new gestures and new pigments? How do artists from Martinique question and renew the act of painting?
le françois ,F97240, Martinique