My wish: Exhibit my works in an art gallery in Tokyo !
Paris area – Pierre Marie is an endearing character and this is visible in his work. Immersed in the artistic world from a very early age, it is through this prism that he awakened his consciousness of the World and others. He conceives his paintings as he considers life, and conversely, in all its transcendence, observing the Part and the Whole as both sides of a same coin. This “supposed antagonism” related to two levels of understanding is exactly what he is always trying to reconciliate in his artworks.
Why and how ?
I started painting when I was 12. Thanks to my grand-father (well-known painter in the Eastern part of France), I learnt how to draw portraits and landscapes and thanks to my dad I learnt engraving techniques on wood, copper and lino. The loss of beloved ones, sometimes successively and violently, pushed me to gather elements that are not usually matching in order to create an agglomerate visually pleasant to look at. In life, events suddenly happen, decisions are taken, reasonably or not, but finally it does not really matter because there is always a logic in it. As weird as a trajectory might be, there is something beautiful emerging from it.
Exhibition
The uniqueness of artworks
Each of my artworks is symbolically representing a life with its straight and winding ways and its overlapping bricks. Arranging blocks side by side, especially the ones that are not correctly fitting when taken individually, is what I prefer because once we take distance everything is readable and makes sense. It is a visual poetic licence, a spiritual vision humbly claiming to be poetic.
Number 10
The technique
I use industrial pens which have the characteristic of drying once applied on the canvas, forcing me to be really precise and vigilant (not to restart everything from the beginning). This 50x50 canvas in black and yellow involves 8 hours of work. It is important to keep the pace to avoid having blocks with disproportionate sizes – from the first to the last one – because it would create an imbalance in the composition that would literally spoil the work.
Number 11
The paintings are lovely