Jean’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.
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.