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拍品專文
Painted in 1989, Paysage pour aveugles sur fond jaune is a monumental landscape whose surface is clearly articulated by various three-dimensional forms. It is a sensual work, and the varied texture addss a sense of the tangible, making its title all the more apt. This landscape could be read like brail. Paysage pour aveugles sur fond jaune dates from the year after Barceló's momentous first journey to Africa, a trip that resulted in a great cleansing in his work. He had for some time felt that his pictures had somehow become cluttered with the weight and accumulation of the Western tradition, of culture, of the canon. Africa's desert gave him the impetus to shed all this, to create a painting that taps into the raw pulse of life, that has nothing extraneous in it. The desert, with its shimmering light, intense heat and vivid shadows, provided a solution for the artist. He returned to Paris, and transferred these characteristics to oils such as Paysage pour aveugles sur fond jaune.
In a photograph taken in Barceló's studio on rue David d'Angers in Paris in 1989, Paysage pour aveugles sur fond jaune is clearly visible leaning against a wall in the background. This photo is intriguing not only because it shows this painting, but also because it gives an insight into Barceló's techniques in painting at the time. Rather than work on a canvas that is on an easel or even leant against a wall, Barceló placed his painting on the floor. He walked around, and even upon, the canvas, applying the paint from above. This technique had several implications. On the one hand, the artist found himself within the domain of the picture, within the Paysage he was depicting. The fact that he was applying the paint from above also meant that the surface gained its appearance and texture through a slow process of almost organic growth. The artist hovered above like a rain-god, the paints and materials spreading on the surface partly through his intervention and partly as a result of the micro-topography that the picture itself gradually acquired. Soon, lumps of paint became small mountains, paint flowing here and there like tiny rivulets, leading to the ultimate formation of the picture surface. In Paysage pour aveugles sur fond jaune, the composition-- with the irregular yellow areas bordering the paler, landscape surface as well as the pointed contrast in textures between these two areas-- thrusts the shimmering desert-like area into bold relief.
In a photograph taken in Barceló's studio on rue David d'Angers in Paris in 1989, Paysage pour aveugles sur fond jaune is clearly visible leaning against a wall in the background. This photo is intriguing not only because it shows this painting, but also because it gives an insight into Barceló's techniques in painting at the time. Rather than work on a canvas that is on an easel or even leant against a wall, Barceló placed his painting on the floor. He walked around, and even upon, the canvas, applying the paint from above. This technique had several implications. On the one hand, the artist found himself within the domain of the picture, within the Paysage he was depicting. The fact that he was applying the paint from above also meant that the surface gained its appearance and texture through a slow process of almost organic growth. The artist hovered above like a rain-god, the paints and materials spreading on the surface partly through his intervention and partly as a result of the micro-topography that the picture itself gradually acquired. Soon, lumps of paint became small mountains, paint flowing here and there like tiny rivulets, leading to the ultimate formation of the picture surface. In Paysage pour aveugles sur fond jaune, the composition-- with the irregular yellow areas bordering the paler, landscape surface as well as the pointed contrast in textures between these two areas-- thrusts the shimmering desert-like area into bold relief.