paris

Jean Le Gac

Galerie Templon

In his latest works, Jean Le Gac indirectly follows a tale of a painter’s adventures who is none other than himself—all the action is more or less faithful to Le Gac’s “real” biography. His works, since his mail-art and the Cahiers (Notebooks, 1989), can be considered self-portraits. The formal novelty in his two latest series—“Les Grandes Vacances ou le Prisonnier” (The great vacations or the prisoner, 1991–92) and “By Jove,” 1991–92—is considerable. Whereas in previous works, painting itself was implicit—referred to but absent—here we find massive areas of color on the canvas, associated on the one hand with drawings and pastels that recount adventures, and on the other with photos of parts of books fetishized by the artist. The materiality of painting is reflected in the way it sometimes covers the drawings, as in a fresco that has been half-effaced by time, magnifying it by its

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