Passage
(- All over (very fast)
- Hard edge (fast)
- Color field (slow, then without tempo)
The passage is formally a transitory place or an extract from something larger. You use it to move on to something more important, you don't really stop there, except maybe to make a reminder, to lead to something more elaborate, more meaningful.
The history of modernity, and the plastic, historical and pictorial stages which marked out the abstraction process in the 20th century, have always been very significant to me. However, the surface result (the painting, the object) has always been of more relative importance. In my opinion, it is the "process ethics" that the object recalls through its materiality that really matters to me.
I can hardly appreciate an artist's work if I don't have the intimate conviction that he or she has submitted to an ethic: that he or she has made the effort to follow the path...
The choices that are then made are an inalienable right, and fortunately are taken up by the artist's freedom, and I consider that all trajectories are then, without distinction, appreciable, worthy of criticism.
At the risk of expressing a certain form of “exclusivity”, I don't manage to have much regard for the “jumpers” of conceptual obstacles and the operators of formatted expectations.
Passage is a radically athematic piece, and melody - which is everywhere - only manifests itself in the second degree. A textural study based on contrasts and the kinetic energy of storms, “passage” is a depression bearing the stigma of three great technical currents that tell the story of the rigorous ethics of abstraction.
It's a deliberately difficult piece.
- Yannick Plamondon