Jacques Ayel

As a child, I used to eat in front of a calendar pinned on the wall. It was a reproduction of “La plaine de la Crau avec la ruine de Montmajour” by Van Gogh. I liked the kindness suffused by this panting.
Then, I experienced chock and facination as I discoverd reproductions of Rembrandt, Goya, Vermeer, Le Caravage, Turner, Soulages, De Staël, Tàpies, ... because I have always had a passion for the search of light in painting.

The interactions of several matters often makes me think of minerals hidden within the earth and whose cristals appear, or stronge characters that will reveal themselves thanks to the interaction of colours. What I also like, is the interaction between the materials, the texture they show, the differences between them and the richness it offers the eye (the combination of sand and gold, for instance). The whiteness of the canvas causes a spectacular depth and rests the eye of every information that the painting can offer. The most important thing is to show my real intention, to go to the core of things. Chance opposes intention, but once the action is finished, I can accept it or not, the painting is not over. It is not an enemy, I regard it rather as an ally, who would offer its own version, which I could keep or decine.

I am concerned with the distribution of the colours in the canvas, with the interaction between them. Like conversations. I create
families of colours (often complementery or pure colours). The mixing takes place naturally while working. Pure colours express their own truth, their own sincerity. They are not scary.

	“Abstraction is not an end in itself. Shapes and colours work together in the making of the painting which final goal is to creat a harmony able to allow us in to a contact with the human soul. “ (Kandinsky)
				As a child, I used to eat in front of a calendar pinned on the wall. It was a reproduction of “La plaine de la Crau avec la ruine de Montmajour” by Van Gogh. I liked the kindness suffused by this panting. Then, I experienced chock and facination as I discoverd reproductions of Rembrandt, Goya, Vermeer, Le Caravage, Turner, Soulages, De Staël, Tàpies, ... because I have always had a passion for the search of light in painting.
	I have always liked painting, and what was to become my subject of work started with a small sketch on a photo paper in 1981. But it was only in 1992 that I trully started my pictural research : on a given format, how can forces, colours, reliefs and lights be balanced ? My painting starts with delimiting the format : it makes me think of an arena, where the events are going to take place, where everything is gambled, where anything can happen ... Since I have an idea, I do everything to achieve it. I can not ignore it, I can not pretend that I have never thought of it. Even if it is very risky. One make discovers experiencing risks.
				Therefore, I settle the matter according to various rythms, I create volums which are going to produce lights and shadows, reliefs on which I will stick gold so that light is more catching and gives deepness. I consider gold as a colour / a light. Gold is the only stainless metal I know. It is also mythic and is a part of the story of humanity. I always use the light / dark rules, light / dark ...
	The interactions of several matters often makes me think of minerals hidden within the earth and whose cristals appear, or stronge characters that will reveal themselves thanks to the interaction of colours. What I also like, is the interaction between the materials, the texture they show, the differences between them and the richness it offers the eye (the combination of sand and gold, for instance). The whiteness of the canvas causes a spectacular depth and rests the eye of every information that the painting can offer. The most important thing is to show my real intention, to go to the core of things. Chance opposes intention, but once the action is finished, I can accept it or not, the painting is not over. It is not an enemy, I regard it rather as an ally, who would offer its own version, which I could keep or decine.
	I am concerned with the distribution of the colours in the canvas, with the interaction between them. Like conversations. I create families of colours (often complementery or pure colours). The mixing takes place naturally while working. Pure colours express their own truth, their own sincerity. They are not scary.
	I wish to find the following concepts in my painting : light / darkness thickness / smoothness black / white softness / ruggedness. My inspirations... : rocks, earh, trees, sky, fire, water ... Everything that surrounds us and is part of us. Jacques Ayel Jacques Ayel 69, allée Lancelot du Lac 35136 Saint-Jacques de la Lande FRANCE Tél 02 90 09 75 30