Jacques Palumbo







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  depuis 2004

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Oeuvres / Le Génératif / Signes, concepts


The development of my research, initiated in 1970, is directed towards creating a reflection of specific aspects of surrounding mental structures. Going back to the age old fascination with signs, codes and numerical systems, 1 became interested at that time in searching for the linkage between the substance of créative work and the very idea of art. This prospective thought process led me to the study of number séquences. Soon, this study became an autonomous endeavor.

Besides numerical signs, I made use of typographical and punctuation signs, namely the whole repertory of distinctive signs to be found on a typewriter. With these éléments, 1 established tables to be used as procedural keys which 1 successively applied to graphic signs which can be reduced to a meta-laguage, then colored signs. Indeed, the computer helped me carry out my work under those two aspects.

Since the beginning of the eighties, 1 have chosen a more modernist approch. Inasmuch as color is concerried, the work relates to self-contained éléments. In practical terms, the paintings draw attention to their primary constituents so as to entice observation. Concretely, they are the result of material objects representing the principles of an idea or even incamating directly these very principles. The notion of perception-color-energy is taken in its physical aspect. The key is the observation of the specific shades presented by the (eight) colors (yellow, cyan, magenta, then, green, red, ultramarine, plus black and white) seen in their particular entity.

A painting is a space proposition.

The site of exhibition is quite important. The objects shown are initially selfrefèrential, later they will adapt to the space which harbours them, thus creating a space game. It is an open situation where the viewer will manifest his sensitivity, his true intelligence. The inhérent connotations manifest in the work become the personal contribution of the viewer. They merge with the work as perceived, thus materializing a concrete visual image.

We are faced with the programming of a concept, a condition of painting itself rather than fonnality itself. Color becomes paramount. The work is focused on energy rather that on matter.

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