Philippe Pasqua's painting, we receive it as a physical shock but also as a vision both explosive and incisive. The amplitude of the artist's gestures - a dance where brutality and finesse, trance and lucidity alternate - commands the monumental format of his paintings.
Philippe Pasqua begins by painting fetish or enigmatic silhouettes evoking voodoo.
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Then, little by little, his gaze turns to those around him. She interferes with the folds and creases of the intimacy of beings; she goes deep into their being.
As a counterpoint to this carnal work, there are her large drawings. The face or the body becomes halo, mist, smoke, line, vibration. It is not so much flesh and matter as sketched outlines and delicate textures.
There are also the "palimpsests", works on paper combining the techniques of silk-screening, printing and painting, where the painter revisits his own works by dyeing them with colors or by redrawing them.
Another major aspect of Philippe Pasqua's work is his series of "Vanities". The technique used evokes both that of medieval goldsmiths working on a reliquary and that of a shamanic ritual. He covers human skulls with gold or silver leaf. He can also dress them with skins that are then tattooed. Finally comes the delicate stage where the skulls are decorated with naturalized butterflies. The wings are spread with iridescent colors: the light diffracts on their surfaces in a colored powder or gets lost in the deep shadow in the hollow of the orbits. Sometimes he also makes liquid paint flow in a thick stream that covers everything and submerges.
In recent years, the artist has also visited Carrara, where he sculpts skulls weighing several tons that are like massive stars radiating telluric force. At the foundry, Philippe Pasqua makes imposing bronze castings that are then immersed in chrome baths. The skulls that emerge - human or animal, like that of the hippopotamus - become mirrors: sometimes we perceive only their blinding brilliance, sometimes they disappear in favor of what they reflect. And as soon as we approach it, it is inevitably our own image that we see.