by pierre pepin

Artwork Description

the walking men and the lady after bath

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Comments on 'Walking Man' and 'After the Bath’. Works by Pierre Pepin. By Mireille Galipeau, Curator at the National Museum of Fine Arts of Quebec, Province of Quebec, Canada, July 7, 2016 Although individually designed, the two works by the artist, Pierre Pepin, 'Man Walking' and 'After the Bath', 24x36 pcs each format appears like a diptych by their associative play. So I will elaborate briefly for they read to references of historical and semiotic characters that arise to my mind. The artist, Pierre Pepin, can explain the technical aspects of the digital production. The diptych composition, 'Walking Man' is separated into three areas. The colors of descending planes on the left side reminds us of a character in downhill motion, while the rhythm of walking among severed limbs beats almost to 4/4 of a military band. This repetitive motion sequence reminds us of the 'Nude Descending a Staircase' by Marcel Duchamp, the cubist planes illustrating the action by symbolizing futuristic pace. The central area, seen as a pause, a rest, becomes the scheme. This geometric support surface appears upon the scene as that of waving colors of skin tone with material producing sounds nearly the same of flexible copper tape. Near both the rhythmic and paused surfaces oppose the great black silence of the zone that stretches the expression of an infinite space. It is opaque and silent where the elements are housed. At the center of the composition, a freshening aperture merges with the dark palette of the backstage area. The musicality of 'Man Walking' resonates with its sister work, 'After the Bath'. As 'Man Walking' represents the masculine and virile interpretation, so in turn, the composition, 'After the Bath' represents a feminine vision and interpretation. This second composition, 'After the Bath' implies more of ballet music where the measure 3/4 waltz develops a semi-aquatic and aerial choreography. The chromatic movements and gestures of the solo dancer unfolds in a theme-based bath according to the aesthetic spirit of Paul Cezanne bathers, Bonnard, Manet, Picasso and many other artists. The two paintings together meet in an interactive dialogue. The same solar color tones and warm skin tones are orchestrated on a contrasting background, with the dark and with black, unifying their membership in tandem. All these compositions could result in stained glass where the glass technique would project the lyricism of strength and elegance recognizable in the canopy of Marcelle Ferron at metro Champs-de-Mars in Montreal.

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