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              <text>&lt;p&gt;&lt;strong&gt;P.Y. CLOUIN&lt;br /&gt;&lt;/strong&gt;&lt;strong&gt;Pierre-Yves Clouin et le peuple des remous&lt;br /&gt;&lt;/strong&gt;Tout n'est pas image. Mais tout peut &amp;ecirc;tre constitu&amp;eacute; en image. L'image est une figure faite &amp;agrave; dessein d'en figurer une autre. De tout ce qui est venu sans intention, et ne va vers nulle redondance, rien n'est image. Ainsi ne le sont ni les orbes de I'agathe, ni les pures &amp;eacute;pures de Mondrian, ni les asp&amp;eacute;rit&amp;eacute;s d'un vieux mur, ni les traces des transes du jeune Pollock.&lt;br /&gt;Mais, &amp;agrave; propos de vieux mur, on se souvient de celui de Vinci et surtout de ce qu'avait &amp;eacute;crit, quatre si&amp;egrave;cles avant lui, le peintre chinois Song-Ti: &lt;em&gt;"Choisissez un vieux mur en ruine, &amp;eacute;tendez sur lui un morceau de soie blanche. Alors, soir et matin, regardez-le, jusqu'&amp;agrave;, ce qu'&amp;agrave; la fin vous puissiez voir &amp;agrave; travers la soie ses bosses, ses niveaux ses &lt;/em&gt;&lt;em&gt;zigzags, ses fentes, les fixant dans votre esprit et dans vos c&amp;oelig;ur. Faites des pro&amp;eacute;minences vos montagnes, des parties les plus basses vos eaux calmes, des creux vos ravins, des fentes vos torrents, des parties &amp;eacute;clair&amp;eacute;es vos points les plus proches, des parties les plus sombres vos points les plus &amp;eacute;loign&amp;eacute;s. Fixez tout cela profond&amp;eacute;ment en vous, bient&amp;ocirc;t vous verrez des hommes, des oiseaux, des plantes et des arbres, et des figures volant ou se mouvant parmi eux; vous pourrez alors jouer de votre pinceau suivant votre fantaisie. Et le r&amp;eacute;sultat sera une chose du ciel, non de l&amp;rsquo;homme."&lt;/em&gt; Tout n'est pas image, mais il n'est rien d'assez hasardeux ou de chaotique que I'art ne le puisse transformer en image, rien d'assez confus qu'un regard visionnaire ne puisse y trouver ressemblance avec quelque figure du monde.&lt;br /&gt;Ainsi travaille Pierre-Yves Clouin, et ainsi le regard sur son &amp;oelig;uvre.&lt;em&gt;"La toile que j'utilise est d&amp;eacute;j&amp;agrave;, peinte, morceau d'une de mes &lt;/em&gt;&lt;em&gt;anciennes cro&amp;ucirc;tes o&amp;ugrave; subsistent donc coups et accidents du pin&lt;/em&gt;&lt;em&gt;ceau. La cro&amp;ucirc;te en question est pourtant encore assez fine pour &lt;/em&gt;&lt;em&gt;qu'aggrafff&amp;eacute;e au mur et quand j'applique pastel et peinture &amp;agrave; l&amp;rsquo;huile &lt;/em&gt;&lt;em&gt;par passages successifs, certaines anomalies du mur apparaissent &amp;agrave; &lt;/em&gt;&lt;em&gt;sa surface comme autant de traces suppl&amp;eacute;mentaires. (...) La cornposition m'est donc presque donn&amp;eacute;e&lt;/em&gt;", &amp;eacute;crit-il.Comme chez Vinci ou Max Ernst, tout commence donc ici par unfrottage r&amp;eacute;v&amp;eacute;lateur. Quelque chose apparait, de tr&amp;egrave;s indistinct encore et qui ne le deviendra qu'un peu moins, mais qui d&amp;eacute;j&amp;agrave; attire I'attention du peintre, mendie de son pouvoir la gr&amp;acirc;ce d'&amp;egrave;tre figure,aspire &amp;agrave; la chance d'&amp;ecirc;tre reconnu. Le hasard tire les cartes, &amp;agrave; I'artiste d'en faire celles d'un territoire, &amp;agrave; lui de constituer cette lev&amp;eacute;e deformes en figure d'une histoire ou d'un monde.&lt;br /&gt;Remous aux teintes &amp;eacute;touff&amp;eacute;es, grumeaux crayeux.Couches, plissements, failles, soul&amp;egrave;vements, solfatares, coul&amp;eacute;es,&amp;eacute;cumes.&lt;br /&gt;Une minuscule g&amp;eacute;ologie semble ici &amp;agrave; I'&amp;oelig;uvre, fr&amp;eacute;missante de touteson impatience &amp;agrave; devenir biologie. Lin&amp;eacute;aments deviennent ligaments ou filaments, qui s'&amp;eacute;tirent, se bouclent, se gonflent et deviennent cellules, cellules qui, &amp;agrave; leur tour, fermentent, bourgeonnent etdeviennent organes, lesquels enfin se tordent, se ramifient, s'&amp;eacute;vaginent, se cornent, se d&amp;eacute;plient, se d&amp;eacute;ploient, se d&amp;eacute;taillent et se fontorganismes, trognes, dragons ou gnomes.&lt;br /&gt;Tr&amp;egrave;s vite I'on passe de la charpie des formes &amp;agrave; la forme des harpies, tr&amp;egrave;s vite du brouillon de peinture au bouillon de culture, o&amp;ugrave; grouillent plus de monstres que n'en firent jamais matrices ou &amp;eacute;prouvettes.Partout sur ces remous le regard attentif devient levain de formes,famili&amp;egrave;res ou impensables, mais pr&amp;eacute;sentes, omnipr&amp;eacute;sentes. Elles sedressent d&amp;egrave;s que I'&amp;oelig;il commence &amp;agrave; chercher p&amp;acirc;ture. A toutes &amp;eacute;chelles, elles apparaissent, acariens ou l&amp;eacute;viathans, luxuriants insectes ou hordes en haillons. Peu importe la petitesse des formats,ils ouvrent sur I'immense fr&amp;eacute;n&amp;eacute;sie, sur le grouillement immense. De loin et rapidement, se fiant &amp;agrave; la palette et &amp;agrave; la virtuosit&amp;eacute; de distribution des espaces? tout cela pouvait &amp;eacute;voquer Tiepolo; de pr&amp;egrave;s et &amp;agrave; mesure d'un regard plus long surgit un monde aussi habit&amp;eacute; que celui de Bosch, agit&amp;eacute; que celui de Magnasco, hant&amp;eacute; que celui de Coya.&lt;br /&gt;Le talent de Clouin est de suciter ce peuple des remous, d'enfavoriser le surgissement entre sa toile et nos yeux, mais sans jamais pour autant fixer quelque apparence s0re. Tout ceci n'aura peut-&amp;ecirc;tre &amp;eacute;t&amp;eacute; qu'illusion fugitive, passag&amp;egrave;re hallucination comme en suscite le regard du fi&amp;egrave;vreux sur n'importe quel papier peint. Maisvoici, nous n'&amp;eacute;tions pas fi&amp;egrave;vreux, et pourtant &amp;agrave; I'instant encore cette toile remuait de toute une transhumance de chim&amp;egrave;res. Alors? Alors convenons que notre vue fut un moment enchant&amp;eacute;e par le pouvoir d'un art.&lt;br /&gt;Tout n'est pas magie.&lt;br /&gt;Mais tout peut &amp;ecirc;tre constitu&amp;eacute; en magie.&lt;br /&gt;G&amp;eacute;rard Barri&amp;egrave;re&lt;br /&gt;le l0 ianvier l99l&lt;/p&gt;&#13;
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              <elementText elementTextId="62255">
                <text>© Pierre Yves Clouin</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
</itemContainer>
