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The Musée d’Art Moderne Grand-Duc Jean (Mudam Luxembourg) is exhib- iting a collection of paintings repre- sentative of research carried out by the painter, several of which come from the Mudam collection. Enriched by the presentation of older pieces, this series of paintings dates from 2006 – 2007 and reflects the direction taken by the artist in recent years.
Coloured forms are deployed on the painting surface and are articulated in relation to monochrome back- grounds although their variation does not constitute an issue and they do not lead to a given interpretation. In fact, the spectator cannot discern a commentary nor any symbolism. On the contrary, the painting, freed of any reference or contingencies of composition, expresses its presence as an object. Its format allows it to be apprehended at once, entirely and in detail. The painting defines itself above all as a place, which allows the free gaze of the viewer, and opens a volume of thoughts.
“The painting, which presents itself as a ‘non-image’, permits the mate- rialisation and establishment of a visual field without imposing worldly things on it.”
“Its enclosure, in terms of form and meaning (the brushstrokes do not leave the canvas and indicate nothing other than their inscription of place), ensures that the gaze/thought is not distracted by other things and can retain its pertinece, supported by ‘the nothing’ presented and inscribed by the painting. This is paradoxical, the gaze is momentarily under obliga- tion to the painting and at the same time under obligation to nothing.”
“One colour succeeds another until the flatness of the painting is obtained so that it has a body, presents itself in its totality and each area of the painting exists simultaneously for the gaze.”
Frédéric Prat
Extracts from the interview with Clément Minighetti, curator of the exhibition (in les cahiers de mudam n°2 : Frédéric Prat, 2008)