Interview with Jérémie Baldocchi
Jérémie Baldocchi is a young artist of just 30 years. He soon lost interest in school to devote himself to drawing. Featuring a private from 16 years, he perfected his style ... Today, he exhibited his paintings to people curious, fascinating and disproportionate. This artist was kind enough to answer these questions:
Interview by Bérangère.b
1 - When you look at your paintings, we see first of all the colors the patterns. You feel caught up in a colorful world, a world stained. Do you color brings more meaning to the picture that forms?
Although the colors are very important, the shapes of my characters are, they, obviously essential with my images/interview-2. Some will say that precisely the bright colors are useful to me with better doing to accept with dimensions the "morbid one" of my characters. It east cannot be not false I believe more than they are used to me to emphasize these tortured bodies.And in there reflective I think that I try to show that some are the colors of the company which surrounds us the "discomfort which is in us" exists and persists costs that costs.
2 - Your characters do not have a head, not face. One could believe that they do not have any identity. Is there the desire to go beyond the singularity, i.e. the desire to make the bodies timeless, almost indefinite?
The human being, throughout its life, tests, of best than it can, to keep the things which it thinks of having acquired. Some try to make perdurer the youth of their body, others, even, dream of an eternal life. I think that an artist, more than another, has the desire to exist and to remain. My characters are like us, they are not out of time but quite to the contrary they are prisoners in a space time. They are fixed in this negligible section of life in the same way as a photograph. Obviously the dedication for me is to make perdurer my images so that they thus become eternal and timeless but that, only time will be able to decide some…
3 - You seem attracted by the female one. The roundness of the characters testifies some. You declared in an interview that you would have perhaps liked to disguise you (...) Alors, is painting in your eyes a change of identity?
Small precision I spoke about disguises while being child and thus about dressing-up. It is true that I would have liked to be a woman but I feel very well as a boy and for nothing in the world I will not change. On the other hand I am fascinated by the transvestites who they or women it is the fact of changing identity which I am men likes, the fact of changing its external image following the example the EC what one is inside. I am actually attracted by all that is rounded, for proof at home I do not have any wall with right angle. The fact of not representing almost that women is a way of living through them, like a child telling stories with its toys.
4 - The body is in the middle of your fabrics. That seems to be the main theme. The design of the body is subjective, expressive: can one speak about a philosophy of the body in your art?
I will always remember one of the many remarks of Francois, this teacher with whom I must so much. At the time of a collective presentation of tables on an imposed topic I endeavour to explain to him what I represented, which I wanted to tell. Then after me to have lengthily listened it makes me understand that one does not need all these elements and these symbols in the image. Nothing is used for either to add humour to give force or even a direction with the visual one that my style is already very impregnated of character, my characters even speaks about them. Since these words make echoes in my head. The body is thus just revealed there by adding to it less possible artifice.
5 - The women are very present in your fabrics. That made think of the clip "My territory" group Large Popo Football Club. Do you confirm this analogy?
I did not know this clip at all before you do not speak to me about it. It puts in scene, in a ludic way, the "ends" of body of woman, of the legs, the mouths, of the centres, which seem to even live them. The clip is really well, it is especially very mild nutter. Differently clip, my bodies are represented in entirety. Admittedly the heads are not represented there physically but they are strongly present. The men them also are present, either in the part of with dimensions or in the head of these women who however seem to be quite alone.
6- You declared in an interview that "the corset, amongst other things, is used for that, beyond the fact that it is a typically female thing (much to my regret)." However today, certain men carry corsets. Would you dare to represent a feminized masculine?
Indeed I find that the corset is a splendid accessory being used to mislead the glance of people. I find that the women have chance well, although being for a total parity between the two sexes I am not convinced that certain objects, social clothing or "codes" can adapt to everyone. One will find in my tables 3 types of sexes, the women, the men and the transvestites. But even if my bodies are disproportionate never the men are not feminized.
7 - You paint disproportionate forms. Is there a desire of sublime, imposing and exaggeration of yourself in your fabrics?
When I was adolescent I liked that one looks at me, I liked to be in the center of the "world" but time with last good and I left my place to propose my Article It is all that counts now. I do not seek at all to propose myself in my fabrics, not far from there. I make self-portraits regularly but nothing more it is right to show with the others which vision I have ego.
8 - Does your inspiration come only from your lived personal? Apparently, you suffered formerly from a problem of weight. You lost 40kg in 2 months. Such a speed can modify whole with the whole the image of its own body and the report/ratio that one maintains there. Art is, for certain artists, a projection of themselves, a kind of therapy. But are you inspired by another thing that yourself?
Attention one should not all mix, I think that my attraction for the deformed and dislocated bodies began following my weight loss it there with that about fifteen year. Indeed the fact of having changed body into hardly 2 months deeply marked me. My goal is not to put, perpetually, in scene this history. I think more, like you known as, with a kind of "therapy". I am inspired by enormously by things whose majority feed my inspiration. Some, on the other hand astonishment, are not there such as for example my taste for the pious images/interview-2 and statutes or my collections of magic wands and those of photographs of crushed pigeons. My life does not resemble all its scenes, I put there simply the things and the colors which I like.
9 - In an audio interview, you stated "to be large but want to socially appear thin". The thinness, and more largely appearance, are a major concern of people. Y-a it a release of yourself in your painting which could be connected with a phantasm of social integration?
The least which one can say it is that my painting is not very integrable socially. I am not either somebody of very sociable. My vision of the world, it there has less than 10 years, was still idyllic. The sky was pink, there were ponies arc in sky and flowers magic. I realize, plus time passes, that it was only one illusion, like if these layers of kindness, of generosity and of beauty, being painted on dirtiness, scaled themselves very quickly.
10 - In a certain way, which you put in scene ugly because is exaggerated. That made a little think of Jerome Bosh. Aren't the forms represented this aesthetic which one generally allots to Article according to you painting must exceed the concept of beautiful? What the "beautiful one" for you?
Here is a question, my time, very interesting, but unfortunately I do not have an answer. The beautiful one is so subjective. Each one of us has a so different vision suitable for each one. The ones will be attracted towards a certain type of forms or nuances of colors that others will hate. It is precisely that which me fascine, the fact that the world which surrounds us of each one among us does not reflect in the same way. I come from there to ask me, of the blow, how you perceive my painting? You see the same thing there as me?
11 - How you would qualify your art: Naive? Surrealist? Pop art? Avant-gardist?
At one time I was fascinated by the current "Bauhaus". I found that incredible that a school, with it only, can be at the origin of a current which was going to badly revolutionize not artistic principles. Each current, through the generations, brought something again. More "futuristic", perhaps, for the time are the currents Dadaïste and Surréaliste. I never really succeeded in positioning my work in any category. However I did not invent anything! Let us leave time to make the things…
Showroom Edouard Rambaud
28 rue Madame - Paris 6th
from September 13 to October 9, 2010