the exhibition titled "Abstraction or Hasty Figures" shows that he has not lost any of his sense of humor. Finally freed from the influence that the Lyon school had on him and especially his teacher Henri Vieilly, he now offers us a dazzling palette of colors that have nothing to envy of Fauvism. Yesterday, a feared pamphleteer, he showed all the colors to the powerful operetta that he still does not like, today, an accomplished artist, he prefers to show us that he knows how to play colors with a mastery that we didn't know him. Who will complain?
He places with precision tones that snap, which vibrate, with daring harmonies sometimes bordering on dissonance. In each of his impeccably constructed puzzles, mysterious figures are mischievously revealed. The face or the silhouette of a passer-by being interviewed? From a missing friend? Of an anonymous man waiting for his quarter of an hour of glory?
The invention he displays allows him to be in the lineage of the masters of the genre Schwitters or closer to us Philibert Charron. Heir to the Dadaists and Surrealists of the 1920s, a time when bourgeois art was contested and where collage contributed to the destabilization of established art, Jean Marc Requien was able to find his own identity. He is of course an inventor of images full of sensitivity and humor, but also a true painter who, with or without a brush, knows how to assert the values of real painting.
Make no mistake, Jean Marc Requien knows, since his beginnings, with a look washed of everything a priori, translate the sometimes paradoxical snapshots of our universe in sensitive and singular collages. Color plays the same role in his random constructions as in his paintings. We are almost no longer in collage, and rather, completely in the language specific to painting.
He plays with images as with words. He subtly diverts the messages of images like those of texts from their original meaning. The humor is always present even if some collages are less innocent than the artist would have us believe. You have to linger to discover the author's hidden intentions and ironic punctuations. Humor is king here and poetry, finally queen, has married her.
Jean Marc Requien invites us to play, to dream in front of his collages which always hides behind the real image an unknown figure, sometimes hiding an obvious sign which imperceptibly imposes itself on you to the point of making you forget the original image. The spectator becomes an actor. Become creative, exercising his eye to see something other than the banality of reality. He gets lost in this world where images are no longer as wise as images since they somehow hide what anyone can discover.