SMETTILA DI CAMMINARMI ADDOSSO
da sabato 26 Febbraio ore 17,30 > 30 Aprile 2011
CHARLES JEAN PAUL
La ricerca spasmodica dell’uomo verso il suo simile, inteso come coadiutore nella risposta mancata, è ormai ridotta
PRESS ANNOUNCEMENT CHARLES JEAN PAUL
CONTEMPORARY ART EXIBITION: Stop walking on my back
Artist CHARLES JEAN PAUL Personal Exhibition
OPENING: Saturday 26th February 7.30 PM > 30TH April 2011
Saturdays and Sundays from 3.30 PM to 6.30 PM
Other days upon appointment
Charles Jean Paul – Hidden meanings of scratched signals
Man’s spasmodic search for a fellow creature, a coadjutor in ungiven answers, is now reduced to a minimum:
too many converging and diverging signals, too many personal idiosyncrasies trespassing and overwhelming
others people’s demand, while we keep chasing a mirage that we expect to be above all just a mirage. It is the
modern iconography of the indistinct that lets the expressive universe of individuals close in a redundancy of
styles, multiplying the emotional rescues in the name of an emergency which is becoming harder and harder to
Charles Jean Paul is still shaking with courage Diogenes’ lantern in order to search in every single expressive
part of it the sign of that more than extinguished, confused Man. His anthropomorphic figures, and by saying
this we say his contemporary abstract style, are imploding with a variety of inner cross-references, gone out
towards the extreme recomposition of the human aim to understand and being understood. The forms overlap
in a desperate effort to point out stratifications, which, like the concentric circles of a tree or the isoconcretions
of rocks, are meant to testify a route, a choice, a direction even and above all when it has been miserably disregarded.
The concise, large brush work intended to gather in some way the contour, just undoes the perspective and
brings us the memory of the previous moment, an ante position of the bygone future, a sad mimic of the time we
cannot stop, and we consider this noble effort as the attempt to communicate the very anxiety of centuries, in
articulo mortis. Poses are asphyctic, deformed, limping in an interposed desire to assist to the indelible shadow
of the Beauty impressed to his Olympic eye.
The subject treated by Charles, that is to say the challenge to dimension black as a predicted deepness of shadows,
in order to contain the iconographic fluctuation of the miserable remains, leads him to work on space as an ante-litteram
setting, and to decrypt the morgue hurry that has confounded halluces and identification badges.
Actually, the broken reflected spotlight is always alert and out of stage, to infuse a dynamic which is only optic in the
front stage of false repentances and still induces us to consider human body as a box of functions and feelings.
It is mark, instead, in Charles Jean Paul’s work, always, even when the delocalization of the informal seems to distract
the chromatic arc in a sequence of generous performances.
In Charles Jean Paul it is impossible to follow further the plot of opportune deduction, scenic or theoretic and even the
visual gaudium of whirling symbols becomes healthily impossible to face, in an aesthetic reconciliation, because the
glance is always turned elsewhere, to the documents, to the expired pass, to the check-in, always postponed to a
minute ago, of the eternal departure of Man towards what someone told him to be, one day, his cosmic finality.
Worn out, invalidated traits, rejected by the scanner.
Paolo Avigo's translation