April 4th, 2010
Brumes, 1992 (p229). Click for larger version.
“Miotte means his gestural structures to exist between states of solidity and liquidity, between the physical and the evanescent, the tangible and the elusive. His investigations arise out of his preoccupation with that gap in perception that occurs between memory, which seemingly solidifies everything, and seeing, where the world can in certain circumstances remain liquid, always be in a state of continuous change and transformation” (p17, Yau’s introduction).
“From this [Miotte] concluded that artistic work, the ‘making,’ as he unpretentiously refers to it, takes place between the ‘will to an action and the content of the gesture that articulates it'” (p27, Ruhrberg’s forward).
Au delà, 1956 (p67). Click for larger verison.
“It becomes clear that… space—although diversely treated—is a dominant theme. The unfamiliar, the previously unknown, the individual cosmos of the sensibilities beyond rationality, are given visible shape by the liberated gesture, by form. The profound and immediate experience of the distilled emotions within the painting allows pure energy to become concrete and produces an echo in space of the magical powers of the universe. Titles such as Au delà [above]… clearly point to this” (p27-28, Ruhrberg’s forward).
Carré d’or, 1954 (p63). Click for larger version.
Says Miotte, “I see my work as a projection, resulting from intensely experienced moments, the consequence of confrontation with experience, and from internal conflicts. Painting is not a rational theorizing or intellectual observation, painting is an action, a sequence of movement carried within one’s self and whose origin is internal” (p33).