Oil on canvas
The thickness of the mystery
" What is attractive is boring " says Thierry Dussac, whose pictorial fight against the Beauty is striking. Draftsman and virtuoso painter, he never stops fighting against the elegance, which appears inevitably every time he grasps his brush. The beautiful, the licked, the realist, the classic whom he masters perfectly - to have studied solo the technique of the painting and have succeeded, in twenty two years, in copying perfectly the big academicians, Jean-Léon Gérôme in particular - Dussac does not want it.
All the stratagems are good, since about twenty years, to try to escape from it. However … The adopted gigantic formats remain less terrible than monumental, the thick and soaking material, less indigestible than lyric, and the bright color, more opalescent than blinding.
Only the subjects chosen by Dussac are fundamentally annoying. Miserable Indians, children provided with prostheses or, more recently, monsters kept in the jars of the Museum of the School of Medicine in Paris, every grasped theme - having been photographed or drawn - is uncomfortable. All, in the border of the voyeurism, roar the injustice of the fates of the existence, the omnipresence of the difference. With anger the beautiful painting always transforms in symphony.
The young sisters who appear among the favorite models of the artist, as Siamese's fetus which was its main subject in 2012, and his project to work at the moment around the theme of the parenthood, each of the essential themes approached by this artist embodies especially the impossible accuracy of the duplicity, the incapacity of the humanity to reproduce exactly. The solitude, thus.
Look for the error: contrary to the optimism of the scientists keen on cloning, Dussac strikes up again and again more hardly a hymn of his own, everything in the poor glory of the impossible equality, of the inaccessible sharing with the Other one. The Siameses are not viable.
Furious but magnificent, the universe of Dussac goes even farther, as long it is based on the inner conviction that up to the breast of the same individual the difference exists. A monster slumbers in every innocent, and vice versa. On every painting, the fight every individual delivers with himself is inevitably at work, embodied by the fight the gestural anger delivers to the beauty of appearances.
Any separation is a disappearance " asserts this painter of the impossible reassurance. The concern provoking the disappearance of its former paintings under thick daubs of paint shows it. Even if, the drama is being devoured by the graphic magnificence of the impacts of material and the paint-run formation… Inexorably caught up by this damned necessity of light and brightness, the more Dussac persists in portraying the anxiety, the more the Beauty necessary for the existence makes a strong comeback; crying out very high and very strong living is painful but it does not remain less brilliant.
« Child I put myself in the painting to escape from the adults’ world, which I did not understand. I built up y own bubble. And I put inside it bodies ". Since then, if the mystery does not stop getting thicker, the hope, too, gains ground. »
Françoise Monnin, Paris, February, 2013
Words of the artist collected in his studio in Paris