Abstract painter , contemporary artist. Fine art and abstract paintings.
Transfiguration occurs with random strokes or a balance of form born of chance and deliberate graphics. Form emerges, colours take their place, graphics are added to the canvas after careful consideration.
Jean-Pierre VIEVILLE, abstract art, is in constant quest of balance. Balance, for the artist, is the keyword. Chance/deliberation, form/graphics, conformism/anarchy. His innermost wish is not to find that balance, but to maintain the momentum required to achieve it. To find that balance would be to end up imprisoned in a tiresome cliché. Constantly, the artist deliberates between an overload of form and an overload of graphics, too much variety and too much unity, between the desire to break out of the canvas and the need to create a commotion on its surface, hence the perpetual search made through movement, or, in other words, the deliberate momentum. Lines circulate, shades harmonise, precision stabilises and yet the eye does not grow weary. Once stimulated, questing, it finds the answer to its question, an answer supplied by emotion.
Often inspired by nature’s minerality, the artist’s abstract painting come alive and drag the onlooker along paths of which he, himself, is yet unaware.
Nicole Meunier, contemporary abstract painting critic. Translated by Elisabeth Hiscott, New York.
Demonstration of abstract painting by Jean-Pierre Vieville
Born in 1951 in France, lives and works in southern France
My abstract painter of life begins, then I become a model and commercial photographer. During this time I paint a dilettante. In the 80 years that I plan art as a means of response to my “inner necessity”. From the standpoint of engineering practice, I found in the literature and the works of masters, most of the bases relevant to my artistic expression. In terms of emotion, and it’s my sense the true source of art, I use my aesthetic feelings before everything comes to me. “I look in the chance that touches me, I appropriate it and then proposes. The random factors have not been crucial for you to read this sentence.
KEY STEPS These are the forces of expressive writing plastic that directs my attention in the 80s. For another decade, I left an important anecdote to my work. Then, little by little I try to keep only the emotional as basic research. I think my approach today is part of the trend “Lyrical Abstraction”.
SO My techniques are focused primarily to the oil. I cling especially to extract different materials, which seems most consistent with the expression that I want to make an emotion experienced. In this vein I have been influenced by artists attached to write the form as Egon Schiele, or more recently Hubert Berke.
WHY ALL THIS? That’s the question I have often asked myself. The quest for the meaning of life is the biggest question that may arise rights. I do not think we should respond, but make a thousand different ways to sharpen our sensibilities, tender to the universal and bequeath our new awareness of the world gained. “Artists do not need to sharpen our sensibilities to help our neighbors find their responses.
1989 – SEVRES, L’Atelier Audibert
1990 – ST GERMAIN, Galerie des Coches
1991 – PARIS, Espace Aufroy
1992 – SEVRES, L’atelier Audibert
1992 – PARIS, Galerie Perrine Masselin
1993 – HONFLEUR, Galerie Le Fleuron
1994 – BRUXELLES, Galerie Lorelei
1997 – PARIS, L’Autre
1997 – ST ETIENNE DU ROUVRAY, Union des Arts Plastiques
1999 – ROUEN, CIN 1999 – OUVILLE L’ABBAYE, Biennale d’Art Comptemporain
1999 – ST OUEN DE THOUBERVILLE, CREA
2005 – ST VICTOR DES OULES, Espace des Oules
2008 – GENEVE, La Cité d’Art
2008 – PARIS, Galerie Visio Dell Arte
2012 – UZES, Galerie Indigo
2014 – UZES, Galerie des Capucins
2015 – UZES, Galerie des Capucins
2016 – CREST, Galerie Espace Liberté
2017 - UZES, Galerie de l'hôtel d'Entraigues