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The painting of Philippe Pasqua, we receive it as a physical shock but also as a vision that is both explosive and incisive. The amplitude of the artist's gestures - a dance where alternation brutality and finesse, trance and lucidity - command the monumental format of his paintings.
Philippe Pasqua begins by painting some kind of fetish or enigmatic silhouettes evoking voodoo. Then, little by little, his gaze turns to those around him. It interferes with the folds and folds of the intimacy of beings; goes to the depths of their being.
As a counterpoint to this carnal work, there are his great drawings. The face or body becomes halo, mist, smoke, line, vibration. It is not so much flesh and matter as sketched contours and delicate textures.
There are also "palimpsestes"; works on paper combining screen-printing, printing and painting techniques, where the painter revisits his own works by staining them with colors or redrawing them.
Another major aspect of Philippe Pasqua's work is his series of "Vanities". The technique used evokes as much that of the goldsmiths of the Middle Ages working on a reliquary that some shamanic ritual. It covers human skulls with gold or silver leaves. He can also dress them with skins that are then tattooed. Finally comes the delicate stage where skulls are adorned with naturalized butterflies. Wings spread with iridescent colors: the light diffracts on their surfaces in a colored powder or is lost in the deep shadow in the hollow of the orbits. It also happens that it runs liquid paint in a thick stream that covers everything and submerge.
In recent years, the artist has also visited Carrara, where he carves skulls of several tons that are like massive stars radiating telluric force. At the foundry, Philippe Pasqua made imposing bronze fonts which are then immersed in chromium baths. The skulls that emerge - human or animal, like that of the hippopotamus - become like mirrors: sometimes we only perceive 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.