Black Stone, Charcoal, Oil / Paper, Canvas
If one examines Philippe Dummont's artistic path, one might be led to believe that it is a simple progression from figurative art to the abstract.
But it is rather a matter of abstraction of the body in order to bandage it, as if in a slightly melancholic daydream.
As a result, the colours of the figures slowly fade away with the fading of the day.
Already beings of uncertain age who posed in his first portraits and other watercolours seemed to melt into their environment, and their drowned gazes envisioned a space outside the frame.
With black and white values, and the shift to shades ofgrey, the ontology of the figures is reconstituted.
It organizes elements into strange elucidations, self-intrusions of limbs and guts, cohesive connections of piping and organs. Crapper, pipes, breasts. Against all expectations, the living and the inert blend together harmoniously, in all material inclination.
The artist's charcoaled fingers probe the paper to unexpected depths, and intimacy emerges. This black mirror presents us with a vibrant and disturbing image of upturned remains, of whispering urges. The sculptures exhibit themselves religiously, backlit.
Jacqueline Robin (Art historian).
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