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Why this need to explain my paintings ?

Why this need to explain my paintings ?

As I said before, my painting is above all the expression of philosophical research. This latter relies on the discovery of universal codes which mean that the observer feels the same feelings, whatever his social or cultural origin.

It is important for me to bring the spectator to think further than he or she would do with no explanation.

By not explaining the project specifications which bring me to create a work of art, one allows the spectator to limit himself to an interpretation of the painting, fostered by education or culture. I would like to point him towards horizons which he would not discover by himself. That done, I leave him to discover by himself.

To those who claim that I should leave the public to their own dreams, I would answer that at every one of my exhibitions, I had to organise guided tours as the public needed and demanded the starting initiation to "play" with me on an intellectual basis. All my sold works were fostered by this complicity. The dissertation I offer to the public is my speciality, one of the motors of my growing success.
Maybe this reputation can only develop in a specific intellectual (but by no means social) class : this is of no matter, because as the proverb states, birds of a feather flock together.

To explain a painting is proof of respect for human beings as they are thus considered as un-impressionable. I believe that everyone retains their free interpretation of my creations.

My associations with all kinds of researchers means that my approach to art, and the content of my paintings, are specific to certain sources of inspiration which are profoundly different to those of many other artists. This I say with no judgmental value.

Like the ancient masters, I enjoy filling my figurative paintings with symbols, as in the time when painting was the only means of reading in a highly illiterate world. I would like to give a new lease of life to the art of deciphering a painting, discovering its coded messages and the finality of a train of thought.
This is also why my abstract creations are so closely worked that they become almost figurative.
For me, an abstract is the expression of concrete thought, and a figural the expression of abstract thought.

After every one of my conferences, at the end of each debate or exhibition, I found myself with young artists who come up to me and shyly present their content-rich works. Almost all of them complain about being "indoctrinated" by a type of diktat which advises against, or even forbids, any way of thinking other than the "fashionable" one.
We are now in a new academic era.
The time of painter-philosophers, painter-sociologists, painter-scientists and, why not, painter-psychologists, is widely expected by a public which is tired of repeated pictures or works with no real imagination. This is the same public which becomes tired of and deserts art galleries.

This is the point where artists declaim : the public understands nothing...
Of course they do ! They understand that art is often limited, prisoner within dated concepts, and they understand that they can often find the same type of creations in most art galleries.

These new artists, looking for mastery which will free them, who want to "speak" rather than "hear themselves speak", are already here, the problem is that they dare not express themselves and make themselves obvious.
I hope to be the key which will open "their" doors.

I also hope that this movement will add to the others as we add a stone to a wall, and that it will never become a rule or a duty.

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