Biography
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| DEVREUX Biography |
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DEVREUX does not specify such a woman, a subject in identity. No
particular view, no concept of the feminine or ideal of beauty - the
painting imposes nothing outside the concern for the appearance
and disappearance. A concealed semblance of a loved woman...
A question of reserve, the moment of a loss, the theme of absence-presence call for Patrick DEVREUX whose purpose illuminating the
whole canvas - and work - is to show what is not said...
Martine MONTEAU
Passage d'encre n°13
Throughout the painter's work we find a desire for silence and
tranquillity. The representation is only a pretext to say anything but
the sketched images. It is a beautiful painting which comes and
goes. The coatings are, at times, fluid, at others, dense. The palette
is almost monochrome in dull tones.
Gerard GAMAND
AZART,
Sept/October 2005
The wall is a faded old red open in the centre onto a series of ajar
doors showing a slim white glimmer behind. In the foreground there
is a yellow empty chair outlined or tousled like the only trace of a
great past or future disorder...
There was thus here some thing like a void. Perhaps he imagined
that if this bedroom could be minutely described without taking into
account its presence for others but rather attempting to place it
solely around its own presence, what is lacking, its flaw would be
discovered, it would be subject to a dependence on something
disturbing and menacing. Note the absence of mirrors or even their
doused reflection in the absence of bodies. False perspectives.
Incomplete hands and feet. Perfectly restoring the logic of dreams.
Perhaps it was never dreamt about...
Jean-Claude
MONTEL
There is foremost emotion. That strange emotion of being in front of
canvases which touch us even more profoundly as they are full of a
life one feels near and far at the same time. In fact, everything
happens as if the image of these figures, these chairs or armchairs
already peopled our imagination. Sunken in silence, the presences
seem to emerge from this quiver of memory to which Patrick
DEVREUX' sensibility confers a shocking power.
Jean-Louis Leconte
September 1995
What I personally like is the
physical presence in his painting, his joy in painting; but also the
poison crossing some canvases he offers me to drink, justly shared,
trying the sweetest poison, diluting it in the look of an other, in the
open mouth of an other, thereby only leaving the ideal deed, a
tamed pain, and, in the work, the hope of being there, simply far
from the hour glass. As simple as hello, working in the light of day.
Working to the correct flow of pigments in an imaginary hour-glass,
on a surface that regains time, a shiver, a feeling, a
murmured poem, inward.
Joel C. Bastard
April 1988
DEVREUX, thus paints chairs, armchairs, uncomfortable certitudes:
if nobody is in these seats, it is because someone has just been
chased away. 'Someone': bodies, characters full of desires and
indifference, frozen in pleasure, a lassitude, a satiety or pain that
has pushed them off the tableau...
J.Ph. MESTRE
Le Progres, Lyon
April 2001
Inscribing sensation into
the immateriality of colour without diluting the image, such is the
stake of a pictorial engagement from where all tangible reality is
banished for another plain. To bring it out, the drawing is
inseparable from the painting, the palette tightening around minor
muted hues, the material fostered with radiating touches of shadow
and light the reverberations, which trap reflective brightness.
Time suspended. A moment robbed of awaited eternity for a distant
and at once intimate vision.
Lydia
HARAMBOURG
March 2006
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