Interview: Jean Marie Renault
Luca Curci talks with Jean Marie Renault during THE EXTENDED BODY 2020 at THE LINE Contemporary Art Space.
After artistic studies in Paris, 1984-1985 University Paris 1 Panthéon Sorbonne, and 1974-1977 Higher National School of Applied Arts Duperré Paris, I developed my artistic approach. I use several mediums, painting, video and also digital art. I work in communication and I have created several virtual sets and regularly exhibited my works. In the ’90s I exhibited regularly with Patrick Barrer at the Regard Genève Gallery and the EuropArt Fair in Geneva, I participated in major Parisian salons, such as “Le Salon”, “Figuration Critique” and “Grands et Jeunes today”. In the year 2000, in collaboration with other painters, we organized numerous exhibitions and meetings at the “Villa des Arts”, 15 rue Hégesippe Moreau in Paris. In recent years, I have focused on digital research work and I started a new series of paintings called “Cosmis blues”, series on vibrations and interconnections. I participated in some exhibitions: 2016 Participation in “The Beauty of Color Collection”, 4 Times Square New York, NY, “Exposition Église des Cordeliers Gourdon”, 2019 Samsung special category at Scope art fair in Miami, “ArtBoxProject” Barcelona, ARTEXPO Basfroi workshop, Paris.
Luca Curci – What is art for you?
Jean Marie Renault – Art is an essential component of our life, we must think about it on a daily basis, it must accompany us throughout our lives. It is both futility and distraction but also the very essence of our nature. This is what identifies a society, a civilization, what ultimately remains of humanity when, over time, destruction affects a society.
LC – What’s your background? What is the experience that has influenced your work the most?
JMR – I carried out my artistic studies in Paris at the Duperré School of Applied Arts, then at the Paris Sorbonne faculty, you could say that my thinking was formed in art with a very strong influence of the Judeo spirit – Christian, with its riches and its contradictions. I nevertheless kept a great freedom of thought, which is essential for me and will not let myself be locked into any dogma whatsoever. I will keep my eyes and ears open to all forms of culture (African, South American, Asian, American, urban), to which we are fortunate to have access. However, I have a few favourite painters like Mark Rothko, Nicolas de Staël, Vassili Kandinsky, Robert and Sonia Delaunay.
LC – What are you currently working on?
JMR – Currently, my work is a suggestive transcription of the sensory vibrations of the cosmic and terrestrial waves which traverse our universe and our minds.
LC – Which art themes do you pursue? What is your preferred subject, if there is any?
JMR – I work on shock waves, the interaction of elements and colours, cultural shocks, societal dissension, ruptures, disappearances. The passing time of communication between beings and groups.
LC – What is your creative process like?
JMR – In terms of form, everything we encounter on a daily basis can become a graphic, pictorial contribution: a reflection, a light, a natural element like passing clouds or a starry sky, the sounds of the city, the music, I try to capture moments of life, after all this is transformed, and metamorphosed to give birth to a new composition.
LC – Do visitor’s suggestions enrich yourself and your art?
JMR – I am obviously very receptive to the comments and reactions of people who watch my production, and it is sometimes surprising to see the diversity of reactions. The perception of a painting and often the reflection of the spectator’s personality, my paintings being more abstract than figurative, they can be interpreted in various ways sometimes very opposite, very contradictory and that’s what I like: to propose a point from the start so that everyone can develop their own thinking, their own interpretation, and do so freely.
LC – What do you think about ITSLIQUID Group?
JMR – I am certainly very interested in a collaboration with ITSLIQUID Group and I hope that it can develop in the years to come. For a painter, it is important to show his work, to get reactions, but also to sell it, and that is why it is important to work with your platform.