Julien Porisse’s paintings are large and physical, dominant pictures that are rooted in the aesthetic concerns of the Concretist art movement – an artistic movement emphasizing the concrete reality of shape and colour independent of representation or symbolism – Suprematism and pop art, his pictures a lyrical poem to geometric abstraction.
Based in both Brazil and France Porisse gets lost in his large paintings, his use of simple geometric shapes such as circles, squares, and rectangles are slowly layered using stencils allowing him to apply the paint thickly, each layer producing textures and reflections of his presence, the lines and smudges visible, the mark of the maker the only sign that these magnificent constructions have been created by hand. This juxtoposition of structural abstraction and lyrical painterly textures and colours gives life and vibrancy to Porisse’s paintings, his art belonging in both the cerebral world of Concretism and the lyricism of Tachism, movements that played a major part in the development of painting in the aftermath of World War II. Here’s what he has to say about his paintings and process:
I consider my artistic line as being structural abstraction with a foot in the Brazilian Concretist art and the other in a more classical French lyrical art. Each time I start a new work it’s a white canvas and at the conclusion it ends up looking like my work. Getting lost is essential before being saved by oneself.
I paint using stencils of basic geometric shapes such as : circles, squares, and rectangles, that have references in (concretist, lyrical, pop art or even suprematism) and that I relate to as constructions or structures. Occasionally, the use of external imagery in my paintings brings some figuration into my language (Line) . The use of stencils allows the paint to be applied thicker and layer over layer produces textures and reflections. The lines and smudges are left visible because they are my marks, and they act as a trace of my thoughts and decisions in my painting process.