Pierre Tal Coat
Between 1972 and 1974
oil on canvas
Signed with initials in white/pink lower right
Painted in Saint-Joseph, le Tholonet and Dormont
Online catalog raisonné: Xavier Demolon XD-1974-018
63 x 48 cm

To Jean Clair’s apt question, What appears on the canvas, what is born?, Tal-Coat gives an answer that is ideally suited to understanding his approach: dedicated attention and withdrawal. What is born? Well, let’s put the birth itself. It is not even the sign of it. It cannot be signified. The signified is the legible, the convention, the time of the stop […], what it is necessary, it is to manage to escape from this haunting of the contoured form and of the sure thing in advance… If you watch a spring gush out, the broth of the spring rises where you least expect it, it is there, but no, it comes out there, like the fish jumping out of the water. For example this thing here (he surrounds with a brief movement of his finger an impasto), one has the impression that it is in the process of springing up, in the process of being, in the process of being made, but also, in the process of being made, it disappears. There is no such thing as being done without also being undone.
Extract from the biography commented by Florian Rodari in TAL-COAT devant l’image, Geneva, Museum of Art and History

€ 50000.-

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