Limited edition - Christian Jaccard - Dissipated energies

This monograph presents a set of works and interventions, some of them new, by artist Christian Jaccard.


521,33 €

Christian Jaccard - Dissipated energies

21,80 €

This monograph presents a set of works and interventions, some of them new, by artist Christian Jaccard. It is published for the exhibitions dedicated to him from June 2011 to January 2012 in the Domaine de Kerguéhennec, in the Villa Tamarisk (La Seyne-sur-Mer) and in the Centre of Contemporary Art in Colmar. The text by philosopher Dominique Chateau gives a complete overview of the work of the artist. Between "feux et noeuds" (fire and knots), Energies dissipées invites us to meditate on this original style of work, to discover it in the traces and imprints which every intervention by the artist leaves on the support he has chosen.

For the limited edition the artist has specially created a number of unique combustions with slow fuse on 250g Arches vellum paper.

Reference 9782915837926
Number of pages 128
Size 24 x 30 cm
ISBN 9782915837926
Edition 35 copies
Justification Signed and numbered
Technique Book accompanied with a signed and numbered print. 60 x 50 cm
Publication date 2011

Jaccard (Christian)

Christian Jaccard was born in 1939 in Fontenay-sous-Bois, France.

He lives and works in Paris.

After having studied at the school of fine arts Paris, Christian Jaccard perturbs very soon the traditional act of painting.

Free of the frame, the canvas, placed on the ground, is printed with the help of what he calls “tools”: natural objects (plants and insects), paper, ribbon. His work thus places him in line with preoccupations close to those of the group Supports/Surfaces.

In the 1970s, Jaccard uses other « tools » like the rope, the string, and, most of all, knots. All these replace the brush, in order to leave their prints on the canvas. He equally burns his paintings thanks to the slow burning fuse, which draws traces on canvases and other mediums through its combustion.

Starting with the year 2000, along with his outdoor works in abandoned places (industrial fallow lands), the question of the painting emancipates itself without denying its origins. His studio thus becomes a nomadic and ephemeral laboratory.

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