The Line, the Coppice, the Lookouts. Louis Pons, drawings from 1947 to 1970.
The Contemporary Workshop| N° d'inventaire | 23319 |
| Format | 16 x 20 |
| Détails | 128 p., paperback. |
| Publication | Strasbourg, 2021 |
| Etat | Nine |
| ISBN | 9782850350108 |
By singular, we mean an artist whose work is never reframed by a dominant aesthetic current. A singular relies only on his own strengths or weaknesses. He is in search of a "primordial expression," in the words of Henri Michaux, whatever his level of knowledge. For the singular, everything that emerges from the aesthetic debate takes second place: his practice is a tool for personal exploration. Too cultured to be outside culture, but not believing in it, too inside the border zone to be considered borderline, too much in idiosyncrasy to give birth to a current, finally, in addition, what is really not media-friendly, too suspicious to feed the spectacular legends of the curse as of marginality, the singular is the shitty stick of people eager for formulas.
By singular, we mean an artist whose work is never reframed by a dominant aesthetic current. A singular relies only on his own strengths or weaknesses. He is in search of a "primordial expression," in the words of Henri Michaux, whatever his level of knowledge. For the singular, everything that emerges from the aesthetic debate takes second place: his practice is a tool for personal exploration. Too cultured to be outside culture, but not believing in it, too inside the border zone to be considered borderline, too much in idiosyncrasy to give birth to a current, finally, in addition, what is really not media-friendly, too suspicious to feed the spectacular legends of the curse as of marginality, the singular is the shitty stick of people eager for formulas.