ATELIER 46

➡ Français

Driven by the urge of see­ing, I became a painter and drafts­man. It took me for that to give up any pre­fab­ri­cat­ed vision. I also ben­e­fit from the ambi­ent pic­to­r­i­al ‘diges­tion’. Currently caught between the free­dom of expres­sion and a quasi-religious con­cep­tion of artis­tic canons, I paint at my lev­el, as freely as pos­si­ble, impreg­nat­ed by the ener­gies of the moment and every­thing that inhab­its me, fig­u­ra­tive or more abstract. Each paint­ing requires a new eye. Simply being with the col­or, the line, mate­ri­als, and open­ing myself to the ener­gy of the moment, act­ing and spon­ta­neous­ly reg­is­ter­ing what­ev­er shows up, breath­ing my own way across the surface.

The work of Michel Touret is impres­sive because of the vari­ety of themes and tech­niques used. It gen­er­ates a great ener­gy of life in which all sup­ports and objects are actors. There is noth­ing con­ven­tion­al about it. Much like in his teach­ing, one feels that Michel pen­e­trates the soul of a sub­ject with aim of rep­re­sent­ing its spon­ta­neous flow.
Michel paints with his whole body that can be seen vibrat­ing even when seat­ed. It is a ‘writ­ing’ where­by the ener­gy of the moment is ren­dered by a sup­ple and con­tin­u­ous ges­ture that van­ish­es of itself at its cur­rent loca­tion. This phys­i­cal writ­ing embod­ies pro­duc­tions with a pec­u­lar vibration.

- Colline