50 x 150 x 5 cm
Acrylic on canvas
Collection Museum Haus Konstruktiv
Donated by Galerie am See
Histoire de bleu et orange
Christian Floquet (born 1961 in Geneva, Switzerland) became acquainted with John M. Armleder and Olivier Mosset while studying at the Ecole Supérieure d’Art Visuel (ESAV) in Geneva. Around 1984, inspired by their discussions about geometry in the age of postmodernism, he decided to replace his expressionist figurations with a more geometrical style. The starting point and core of his painting is his intense exploration of the power of asymmetry. In most cases, as in “Histoire de bleu et orange,” he divides the picture in such a way that a large rectangle is penetrated by a smaller triangular field from the edge of the painting. In other works, he lets one or more stripes move across the picture plane. At the end of the 1980s, in order to accentuate this dynamic principle, Floquet began incorporating only two colors and often only two forms. In addition to these fundamental decisions, Floquet also does not use any predefined forms or chromatic schemes, but rather develops each work anew, beginning with a draft on paper. Based on how he wants to create tension and locate its culmination point, he chooses either a square, portrait or extreme landscape format with a pure black and white or complementary color contrast. The “bi-dimensionnalité” (flatness) in which Floquet is fundamentally interested is generated through a completely opaque application of paint without any spatial depth.
“Histoire de bleu et orange,” one of Floquet’s few works with a descriptive title, was painted while he was living in Paris between 1982 and 1998. It is a work that pushes the limits of asymmetry: The picture plane is painted in a cool turquois that reverberates like a long musical note until it ends abruptly on the left side through the syncopation of a small triangle in orange. This locates the tension on the left edge of the picture, and although the eye wants to rest on the blue plane, it is continually drawn to the orange triangle.
Floquet’s painting is proof that asymmetry is not yet exhausted as an artistic theme. He continues to lend new impulses to the Neo-Geo discourse in the French-speaking region of Switzerland and beyond with his fascinatingly simple but effective compositions.