Le grand mystère Painting

Since his beginnings in painting, Pierre Poulin is influenced by the painting of Bengt Lindström (1925-2008) who was a powerful and wild painter using vivid colors. We find the creative influence in Pierre Poulin's work who let himself impregnate by this great Swedish painter.

Pierre Poulin sculpted lines, with strenght, in a free gesture, finding an unpremeditated way to paint. Shapes – even the simplest ones – in their bright colors, arise and are transposed on canvas. Pictural matter, rich and abundant, is sculpted. It raises deep emotions. The expression born from his within, is externalized, like a pulsion, like a cry from the heart, on the support (the canvas). Sport and painting are intimately interrelated. Pierre Poulin does not paint "things" or "objects", he paints the life itself with coded symbols and hidden messages, sometimes superimposed one on others. His characters - or silhouettes - have their own sensitivity and personality. Someone wrote "Pierre Poulin's painting is above all a living force and a color temerity". His strenght lies in the expression of sensible life, according to a very personal interpretation. The artist leads the audience into the action. His artistic universe is made of freedom. His audacity is in his topics and his colors. His painting reflects his colorful personality.

"I want my painting to be for everyone the feeling of a downhill ski in powder snow on a beautiful winter day. I want to give the feeling of the wind caressing my cheek and felt my body in action that traces the paths of life in gliding ski. Painting is for me a hug, a surge of colors, feelings and raw emotions that propel me into the beauty of the universe and into the beauty of life. By passion, color and boldness, I propel myself through the air in search of the invisible and the impossible. Make the impossible possible, this is the search of my life".

ART BRUT, ART OUTSIDER, SINGULAR ART AND UNCLASSIFIABLE ART

Art brut, singular art, unclassifiable art... this is not standard in art. "No standard of good taste indeed. Not of bad taste. Good and bad tastes are a symbiotic couple, a mutual fusion and this permanent autosubversion is precisely pledge of freedom and diversity", wrote Pierre Souchaud (Director of Artension, french art magazine) in 2008 in the preface to "La bible de l’art singulier inclassable & insolite", published by Lelivredart.

HISTORY OF ART BRUT

Very long time, these artists were nobody ! except some poor creatures suffering from what is called "schizophrenia"; finding in the terrible loneliness of their asylums the possibility of appropriating surreptitiously makeshift materials to cover them of drawings, bringing together disparate elements to create unexpected objects, unexpected characters, creating images which allowed them to suffer less from loneliness. Then one day, some curious psychiatrists began to look, to question the meaning of their creations. Thus, in 1907, Marcel Réja evokes in "L'art chez les fous" another world where it is possible to find a spark of genius.

During the first quarter of the 20th century, influenced perhaps by the weird artistic waves born in galleries in Euopre, a cultural change is taking place. In 1921, Dr. Walter Morgenthaler published an important monograph on Adolf Wölfli which remains one of the most emblematic representative artists of Art brut. In 1924, Dr. Hans Prinzhorn highlights the reason for their creations. This book marks the end of the exclusion.

The term "Asylum Art" was born... Until the works fall under the eyes of Jean Dubuffet, a the french painter, sculptor and artist. Fascinated, he collects many works. The term "Art Brut" was found in 1945 by him to mean "works executed by people free of artistic culture; in whom, therefore, mimicry, unlike what happens among intellectuals, have little or no share; so their creators derive all of their own background... The art, therefore, where is manifested the only function of invention...". He presents the collected works in a museum. This discovery immediately gives the desire to make Art Brut for thousands of artists, healthy in body and spirit.

People are looking for names. They want to name this marginal adventure. They find: Art Outsider, Art outsider the standards, Spontaneous Art, Invention Outside the standards, extra-cultural productions, isolated Art, Roots of Arts, Fringes of art, Frank Creation, etc. It was then Michel Ragon and Alain Bourbonnais titling their work under the label of "Art Singular". They make a exhibition in 1978 at the Modern art Museum of Paris. All names, by a kind of imitative frenzy, would later become approved under the term "Singular Art". Over time, the galleries have monopolized this movement. Art schools created courses of singular Art. By the worst incongruities some art schools give an Art Brut diploma ! Self-taught artists or artists from the Art schools (School of Fine Arts) abound, offering with great ingenuity original work, marginal work and contemporary creations.