{"id":21,"date":"2021-02-11T23:03:22","date_gmt":"2021-02-11T23:03:22","guid":{"rendered":"https:\/\/decan-art.com\/?page_id=21"},"modified":"2021-02-20T11:17:21","modified_gmt":"2021-02-20T11:17:21","slug":"portrait","status":"publish","type":"page","link":"https:\/\/decan-art.com\/en\/portrait\/","title":{"rendered":"Portrait"},"content":{"rendered":"\t\t
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Portrait<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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De\u00e7an, la lumi\u00e8re de l\u2019\u00eatre<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Tant\u00f4t plaie saignante et blanche d\u00e9signant la pr\u00e9sence d'un combat r\u00e9cent, tant\u00f4t trace cicatris\u00e9e d'une \u00e9preuve d\u00e9j\u00e0 pass\u00e9e, la ligne, dans l'\u0153uvre de De\u00e7an, n'est pas seulement le signe de la lumi\u00e8re, de l'abondance, de l'exc\u00e8s, mais elle est aussi le symbole, l'indice, l'incarnation plastique d'un point, au c\u0153ur de l'\u00eatre, qui en marque la limite, et aussi, le point d'ouverture. Et c'est vers ce point, cette limite, cet exc\u00e8s, que s'efforce, sans cesse, le peintre; c'est vers lui que son exp\u00e9rience spirituelle (sa pratique m\u00e9ditative de la peinture) s'abouche. Avec De\u00e7an, la peinture op\u00e8re, \u00e0 m\u00eame la mati\u00e8re color\u00e9e, la cicatrisation des plaies. Elle mat\u00e9rialise, dans un langage plastique d'une simplicit\u00e9 d\u00e9sarmante, la victoire d'un esprit sur les traumatismes qui auraient pu le d\u00e9truire, le mettre \u00e0 mort, le porter, de son vivant m\u00eame, en terre \u2013 l\u00e0 o\u00f9 gisent, sous des strates de cendres, les figures des mensonges pass\u00e9s. <\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Et c'est depuis ce fond obscur, bourbeux, charg\u00e9 de toutes les violences, de tous les tourments, de tous les souvenirs qui, jamais, \u00e0 la lettre, ne pass\u00e8rent dans l'inconscient, que De\u00e7an s'\u00e9lance. Oui, c'est toujours depuis ces souvenirs coinc\u00e9s, ces tourbillons, ces points d'anti-mati\u00e8re (qui forment la cro\u00fbte informe, la surface, le limon de chaque \u0153uvre) que De\u00e7an trace la ligne de son affirmation. Affirmation qui, par-del\u00e0 cette premi\u00e8re mati\u00e8re jet\u00e9e (qui r\u00e9unit la volont\u00e9 abrupte du peintre, ses mouvements de bras, ses choix de couleurs, et la pesanteur de la mati\u00e8re, la chance avec laquelle elle se laisse faire, se laisse modeler), exprime le d\u00e9sir, la force, la volont\u00e9 de franchir les limites de cette masse opaque, d'aller puiser, au fond de son apparente noirceur, les sources d'une lumi\u00e8re neuve ; d'une lumi\u00e8re qui ne serait plus seulement celle de la premi\u00e8re innocence (de cette innocence aveugle, gris\u00e9e et qui nous force \u00e0 vivre dans un faux-jour), mais la lumi\u00e8re que produit, \u00e0 partir d'un certain niveau d'exp\u00e9rience spirituelle, la nuit elle-m\u00eame.

Car la nuit, la blessure, la faille, ne sont pas, chez De\u00e7an, le signe d'une existence tragique, d'une existence qui aurait succomb\u00e9 sous le poids de ses \u00e9preuves. Au contraire, avec De\u00e7an, la blessure devient chance, lumi\u00e8re. Et le sentiment d'abandon, l'horreur d'avoir \u00e9t\u00e9 trahi par le monde, trahi par le destin, trahi par Dieu lui-m\u00eame, se retourne en son contraire en vertu m\u00eame de l'absurde. Car l'absurde, l'impossible, le non-savoir ne sont pas des \u00e9tats de fait, mais de simples lectures tristes, tragiques, que l'\u00eatre qui souffre peut parfois donner \u00e0 l'exp\u00e9rience qu'il vit (car cette exp\u00e9rience, de par sa violence, le force \u00e0 se tenir \u00e0 distance de sa v\u00e9ritable signification). Mais ce centre obscur, aveuglant, ce centre o\u00f9 la mort devient lumi\u00e8re, n'est-ce pas pr\u00e9cis\u00e9ment vers lui que les peintures de De\u00e7an nous entra\u00eenent, vers ce centre d\u00e9chir\u00e9 du monde, ce centre insens\u00e9 o\u00f9 la force \u00e9ternelle de l'\u00eatre qui sait s'abandonner, et qui voit dans cet abandon sa chance, rayonne, comme un soleil, depuis le fond de l'\u00e9ternit\u00e9.

Fr\u00e9d\u00e9ric-Charles Baitinger
<\/b>Journaliste critique d\u2019art Magazine Artension<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Portrait De\u00e7an, la lumi\u00e8re de l\u2019\u00eatre Tant\u00f4t plaie saignante et blanche d\u00e9signant la pr\u00e9sence d’un combat r\u00e9cent, tant\u00f4t trace cicatris\u00e9e d’une \u00e9preuve d\u00e9j\u00e0 pass\u00e9e, la ligne, dans l’\u0153uvre de De\u00e7an, n’est pas seulement le signe de la lumi\u00e8re, de l’abondance, de l’exc\u00e8s, mais elle est aussi le symbole, l’indice, l’incarnation plastique d’un point, au c\u0153ur […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":{"footnotes":""},"class_list":["post-21","page","type-page","status-publish","hentry"],"yoast_head":"\nPortrait - De\u00e7an<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/decan-art.com\/en\/portrait\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Portrait - 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