Georges Rousse

His early figurative paintings seem straight forward but they are different. Rather than photographing an image of the “empty hallway or room” of an abandon building, he gave life to it. And in a way created memories to commemorate previous residents in his own imagination.

The sculptural forms remind me of how an interior designer would imagine different pieces to be placed or the potential of the space. This technique is also similar to sidewalk chalk artwork in which their one particular point of view can deceive the viewer between 2D and 3D perspective.

The transparent shapes painted in itself seems contradictive. This is because typically when paint is placed on a canvas or piece of paper it becomes solid or not see through. On top of this, the shapes Rousse used are typically in a solid sense whether that is 2D or 3D. However, with this space and use of material Rousse makes these shapes appear translucent.  Allowing the elements that are in relief to become flat continues to draw my attention; 3D elements becoming 2D in a certain viewpoint.

When Rousse went onto his series of capturing light with the use of circles allows for us to look more into his medium. The base of these pieces being architectural reverts his idea in his transparent pieces in the sense that Rousse is trying to show more depth into the architect elements conceptually; and being that architecture is 3D form.  

The incandescence of the sun (where does it come), merged with his words puts a more literal sense than without the words. Before the words, I was appreciating the light source and how it appeared in certain areas of the pieces. But then bringing the subject of light into a religious term can be more depicted in his words because of his thoughts with death; these thoughts contradicting the light, a holy figure, is a beautiful thought and image.