Jean-Pierre Pincemin's approach is historically linked to that of the artists of Support-Surface who questioned the means of painting at the end of the 1960s. Through the series of "Carrés Collés", undertaken between 1968 and 1973, Pincemin undertook a work of deconstruction of painting that rejects the use of brushes as well as canvas on a frame. He thus developed an anonymous and serial execution method described in these terms: "The gesture consists in dipping squares in their median or diagonal half and then assembling them according to the serial order that I had set for myself, according to a number of squares of 4, 6, or even 9; it was a matter of repeating them mechanically, the limits of the web did not exist.
Lot 27 - Jean-Pierre Pincemin (1944-2005)
Untitled, "Carrés Collés", 1969
Acrylique sur toile libre
Signée, datée et titrée sur un échantillon de toile
198.5 x 196 cm
It was still possible for the user to put it in the direction he wanted" (Jean-Pierre Pincemin, Peintures sans châssis, Rouen, Musée des Beaux Arts, 1975). By experimenting with collage, Pincemin renews the principle of repetition and leads to spatial constructions that enhance certain rhythms of colours or shapes. As the critic Chantal Béret pointed out in her article "Les gestes de l'idée": "The canvases are suspended directly on the wall, without the frame (free canvas), the treatment of the colour giving the canvas weight and rigidity... Rectangular formats can reach a certain size.
Square planes, fragments of the cut-out support, relatively equal... structure the pictorial space. They are juxtaposed in a rhythmic order given by binary chromatic relationships, according to an open and unlimited repetition process... The inscription of the colour is done in fragments that correspond to the fragmentation of the support: the painting immerses each plane in one or two baths of colour, eliminating any direct intervention of the hand on the canvas, any striking tool, except the chisel that cuts and draws. "(Art Press, No. 18, May-June 1975, p. 24).
