About

In his paintings and drawings, Jean uses different multimedia including watercolour, charcoal, and paintings in oil and acrylic. Techniques include folding, collage and decollage, dripping, pliage, and arrachage.

Retrospective

Boghossian has exhibited internationally, namely Brussels, Italy, Beirut, Abu Dhabi, and South Korea.

Boghossian’s art is a quest following an aesthetic experimental path, evoking a contemporary view on the abstract expressionists and the conceptualists, the Zero-movement, and Fluxus.

Yet, he does not belong to any movement or school.

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Atelier Shlumberger - Brussels

"Destruction by fire is more than a simple change,
it is a renewal".

Empédocle

Biography

Boghossian’s art is a quest following an aesthetic experimental path, evoking a contemporary view on the abstract expressionists and the conceptualists, the Zero-movement, and Fluxus.

Yet, he does not belong to any movement or school.

History

Thirty years ago, Jean Boghossian started painting, realized his passion and reached his current style by applying fire, smoke, and flame to various media with pigments and colour to give violent results through poetry, and construction through deconstruction. Objects burned include canvas, paper, books, chairs, and paintings, at times leaving behind patterns of perforation, using unique and diverse techniques.

In his paintings and drawings, he uses different multimedia including watercolour, charcoal, and paintings in oil and acrylic. Techniques include folding, collage and decollage, dripping, pliage, and arrachage.

First attracted to the representation and the figurative, his style later developed into the abstract. His evident and extensive knowledge of modern and contemporary techniques allow him to draw on his earlier experience to develop a unique expressive style, declaring himself through experimentation a man of art.

Having studied major contemporary artists including Simon Hantaï and Alberto Burri, Boghossian developed an interpretation of their work to re-imagine his contemporary art.

Interpretation

Jean Boghossian continues his artistic quest following an aesthetic path crossed by many experiments on the surface and the material. After a period marked by abstract expressionism, he grabs the support - canvas or paper - twists, crushes and covers it with paint. This innovative attack on the support, canvas or paper, and the painting, poses anew the question - with a personal response - of how to paint today. However, this response is consistent: it requires the destructive power, after having rutted the surface, to determine the shape of the work. The artist does not seek to depict destruction, but puts it into the service of his art.

Where the heat chooses to strike, the supporting canvas or paper shows deep traces or visible cracks and fissures. Where it slides over the surface, it sketches an explosion of improbable and always surprising trajectories. It all depends on handling different methods of burning. All these wonderful tattoos are for us like a new skin which breathes the air of artistic freedom. In his "Maximes consolantes sur l'amour" Baudelaire tells us that the only optimism for man in his finite existence is to "believe that fate enjoys a certain elasticity which is called human freedom".

Text by Victor Hugo Riego