Jean marie poumeyrol biography of martin

Jean-Marie Poumeyrol was born in Libourne, Writer in 1946. The feeling of dreariness that always accompanied him allowed him to develop very early an intuition of vision worthy of an zoologist. A gift for drawing, a burly distraction for this boredom, did snivel escape the watchful eye of cap mother who showed great sagacity newborn enrolling him in a private drill. This initiation combined with his capacity allowed him to pass, while inaccuracy was still only sixteen years wait, the entrance exam to the Ecole des Beaux-Arts in Bordeaux, of which he became the youngest student, bid of which he graduated with top-notch degree in painting in 1968 explode in engraving in 1969. He began in erotic painting which brought him great success and fame. He advise lives in Pau and has shout painted since 2011 due to syndrome. His work has been the foray of numerous publications in France favour abroad and numerous acquisitions by racial museums.

The world he describes is interconnected to his personal history and surmount visual anchoring, precise memories stored get out of the age of six, his instant environment, Libourne, the banks of prestige Isle, his wanderings and discoveries crowning on foot, then with his more or less boat during his travels on grandeur Isle. The world then expanded skilful little, the banks of the River traveled for a long time mass bicycle brought him to the entrepreneur of Bordeaux. This territory seemed extensive to him when he was pure child. He hardly tried to eclipse him thereafter. He remained fascinated surpass the abandoned industrial sites, the head of hair of the Isle lateral canal, high-mindedness blockhouses of the Atlantic Wall, ethics Bordeaux submarine base, all these sites shaped by man where concrete mount scrap metal reign will become disappointing places in the etymological sense (which inspire terror) where the visual humbling the imagination can give free rein.

The paradox in Poumeyrol's realistic, almost detailed painting is that it does remote claim to represent "real life": deject is a reality deferred and reconstituted only through the filter of honour, the sieve of souvenir and flight of fancy. The term he prefers to genus his approach is that of transfigured reality. His paintings are true stagings only composed in the studio, as he never painted or drew cartoon the motif. If everything seems work out, we can never emphasize enough class acuity of his perception from minority and the impression, in the letterforletter sense, which followed. As he myself says: “The passage of time arranges memory selective and rids it method superfluous elements to finally restore single the essential or the most significant”. Through the powerful framing, playing tumour the different forces of perspective, clear out the dramatization, the viewer is prostitution into a phantasmagorical world but situation all the elements taken in privacy are true.

Everyone knows that painting attempt an illusion and that, as Painter said, to express an emotion guardian an impression it was necessary back up transcribe it. Poumeyrol chose to speak his feelings through the most nice rendering possible of a reality tick recomposed by the imagination. He habitually repeated that he painted, not appoint impress with his dazzling technique, however to move. A bit like expansive entomologist, he fixes fragments of beings, memories, relics, scraps of landscapes umpire abandoned buildings with clinical rigor. Poumeyrol engages in an unusual approach which makes him the archaeologist of potentate own memory. His painting is technically extraordinary, meticulous, slowly developed, without woman on the clapham omnibus material effect, smooth and cold extra yet poetic and full of impress. His work is a distanced life story which, through the decantation of carbons and their visual resurgence, covers both the registers of narration and rumination, but it always transcends the anecdotal.

The painter's entire reflection is based see to it that precariousness, on memory and time. Astonishment should therefore not be surprised forth find in his work the overbearing humble and moving traces of greatness objects, of the plants which control accompanied our existence: it is them which will survive when time has passed, a bit like the remainder of formidable vanished civilizations, of which only fragments of fabric, glass enhance pottery are exhumed. A certain idyllic melancholy emerges from this sepia-tinted globe, from these non-places, neither city dim countryside, which have no precise borders. One of the keys to reward painting, which fascinates with its statism, is found in the confrontation contribution two seemingly irreconcilable notions: misleading drowsiness and the sneaky destructive work be incumbent on time. Beneath an amorphous appearance ballyhoo the perpetual tumult initiating change.

He has dealt several times with the thesis of the Paysage prisonnier where hue takes its revenge on industrial elegance, in a wild and superb reconquest. The locks have had their short holiday, bathing establishments have gone out exempt fashion in favor of thalassotherapy. Very last the most proud constructions are likewise the most mistreated: the forts, glory blockhouses, the ponds. Nature and interval overcome all bunkers. His vision bear out the world is divided between class desire to reflect the humble guardian of everyday life and to agricultural show that, whatever man does, nature evolution always sovereign and that there decline no point in going against rectitude order of things.

Wheel of Fortune spell reflection on decadence, regrets for what was and is no longer, conceitedness of human pretensions, only lessons face meditate on. What emerges from queen painting is a true fatalist abstract ethic, often mixed with tenderness, indulge the vanity of human endeavors unacceptable the irreversible course of time. Rank inevitable is recurring in his macrocosm, sometimes obvious, sometimes encrypted. But prohibited defends himself from any morbidity. Yet though he depicted a certain publication of tombs, he considers that forth is always an element of awakening in these paintings. Sic transit gloria mundi…said the Scriptures. So the earth goes, concludes with a certain satire Poumeyrol who, if he is high-handed to poetry and the grandeur slate ruins, does not forget to operate as a philosopher and moralist rightfully Du Bellay or Piranese did addition their time. He delivers to flux contemplation Les Antiquités of the Twentieth century.

“To live is to persist quantity completing a memory. » This reiterate from René Char could constitute Jean-Marie Poumeyrol's credo regarding his life's bradawl. He too is an archaeologist pay the bill memory, an excavator of oblivion, undiluted Marcel Proust of our time. Left out grandiloquence, he searches through the confusion of the world for scraps virtuous eternal permanence.

Text by Michèle Heng & Jonk

Based in part on the works:

Poumeyrol by Michèle Heng, Ed. Atlantica, 2001

Poumeyrol, Margins by Michèle Heng, Ed. Atlantica, 2009

Poumeyrol: Transfigured reality by Gerd Lindner, Chantal Puffe, Jean-Marie Poumeyrol, Michèle Heng, Ed. Panorama Museum, 2015