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"Palissades" 1978
Oil on paper, 70 x 90 cm

Jean-Pierre Pincemin was born in Paris in 1944.
​His recognized debut was in 1967 at the Salon de la Jeune Sculpture where he presented constructions in scrap and stacked wood. Until 1969, he carried out a long series of experiments on free canvas, without frames, by printing objects dipped in the dye (corrugated sheets, fences, boards...). Then, in 1969, he created his first Carrés-collés, repetitions in series of squares of canvas soaked, tinted and glued or sewn into rhythmic surfaces. In 1971, he joined the Supports-Surfaces movement, following Viallat, Bioulès, Saytour, Cane, Devade and Arnal. Like them, he dismantles the painting object to expose its components (frame, stretcher, painting) and underline its ambiguous, misleading nature, a false window on reality. This interest in the physical nature of the object will be a constant in his work. He will say thus: “I see painting as a mechanism in which it is necessary to produce disorders”. Developing a mixed practice, abstract and figurative painting, painting and sculpture, working away in a small town of Beauce (Authon-la-Plaine), he benefited from constant support, visible in particular in the retrospectives which have consecrated in the mid-1990s, and is considered one of the great post-war French artists. It was from 1974 that Pincemin developed the series of Palissades or Portails, large architectural canvases, composed of large vertical and horizontal bands. These works evolve, in 1976, towards almost monochrome paintings, mounted in successive layers, with a space strictly divided into bands and borders. By creating these false "palisades" and real paintings, Pincemin plays on the opposition between abstract art (of which the "monochrome" is one of the great "genres" worked by many artists from Malevitch to Ryman) and figurative art (the palisade) . More broadly, Pincemin questions with this series the role of art in relation to reality, a questioning already present in his first works (found and rearranged wood becoming sculpture).

 

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