Jean-Pierre Fruit
Jean-Pierre FRUIT has something very special. He has got into the habit of transforming what he sees.
His regular practice of drawing, his knowledge and mastery of values allow him to characterise works that are as original as they are unusual. Elsewhere, pastels ignite where compositions mix warm and cold colours in full search of their blossoming.
What changes and transforms thus becomes reality for itself. An original way that is put within our reach.
It is also a personal way of conceiving, of dressing a space with all the strangeness and splendour of chimeras. One could even speak of a bestiary, foreseen by the Artist, envisaged in all innocence, capable of illustrating his rich vision of things. For reference, let us mention other works that would echo his own creations. Let us mention Jérôme Bosch (The Gardens of Delights), Pieter Brueghel the Elder (The Fall of the Rebellious Angels), the portraits of Arcimboldo, or in : "The Night of Joy of Enitharmon", by William Blake (who was linked to the painter Fuseli, a lover of fantastic visions), the sort of amphibian that is both monstrous and grotesque (the Ghost of a Flea) and more recently, certain representations of the Quebecer Davis Altmejd (the unicorn and other monsters and hybridizations), or the "Owl" by Lucy Glendinning.
His regular practice of drawing, his knowledge and mastery of values allow him to characterise works that are as original as they are unusual. Elsewhere, pastels ignite where compositions mix warm and cold colours in full search of their blossoming.
What changes and transforms thus becomes reality for itself. An original way that is put within our reach.
It is also a personal way of conceiving, of dressing a space with all the strangeness and splendour of chimeras. One could even speak of a bestiary, foreseen by the Artist, envisaged in all innocence, capable of illustrating his rich vision of things. For reference, let us mention other works that would echo his own creations. Let us mention Jérôme Bosch (The Gardens of Delights), Pieter Brueghel the Elder (The Fall of the Rebellious Angels), the portraits of Arcimboldo, or in : "The Night of Joy of Enitharmon", by William Blake (who was linked to the painter Fuseli, a lover of fantastic visions), the sort of amphibian that is both monstrous and grotesque (the Ghost of a Flea) and more recently, certain representations of the Quebecer Davis Altmejd (the unicorn and other monsters and hybridizations), or the "Owl" by Lucy Glendinning.
Chris CANTER-BRIENS, art critic
