Conceived by New York–based artist Greg Parma Smith (born 1983) as an archive, this artist’s book combines a selection of recent paintings with drawings (preparatory sketches, studies, patterns and designs, cartoons and doodles) realized by the artist from his youth on.

About the Author

Alors que le statut des images continue � �tre profond�ment modifi� par l'acc�l�ration incessante de leurs modes de circulation, la peinture se pr�sente volontiers comme l'un des moyens de ralentir leur progressive d�mat�rialisation, en leur redonnant en quelque sorte un corps. Une grande partie de ces pratiques picturales contemporaines semblent tirer leur origine de deux moments particuliers dans l'histoire de l'art r�cent : celui, dans les ann�es 1950, de la mise � plat du tableau par l'expressionnisme abstrait, qui transforme de facto la peinture en objet ; et, dans les ann�es 1960, celui de la mutation du motif en image par le Pop Art. L'esth�tique du � flatbed � de Robert Rauschenberg, permettant de combiner des images et des objets extraits de sources h�t�rog�nes, est ainsi r�guli�rement revisit�e par des artistes qui mettent en sc�ne la disponibilit� contig�e de tous les styles et de toutes les images.
Si les tableaux �clectiques de Greg Parma Smith (n� en 1983 � Cambridge, Etats-Unis, vit et travaille � New York), qui associent nus acad�miques, effets d�coratifs et repr�sentations non-artistiques, paraissent participer de cette esth�tique, ils op�rent en r�alit� une v�ritable rupture dans ce programme. Tous sont sont en effet r�alis�s � l'huile, avec le m�me degr� de finition, et leurs sources se perdent dans un effet de bienfacture qui rel�ve du simili, du faux et du trompe-l'œil. Il devient alors impossible de s�parer les images de leur mat�rialit�, de distinguer une volont� d'appropriation critique dans l'accumulation de langages diff�rents. En ce sens, les surfaces peintes de Parma Smith ont plus � voir avec les techniques d'application d'images scan�es de Guyton / Walker, �pousant les contours d'une table, d'une bo�te de conserve ou d'un tableau, qu'avec celles de leurs devanciers Pop.
L'ensemble des sources de Greg Parma Smith renvoient � l'artisanat, qu'il s'agisse d'inscriptions calligraphi�es � la mani�re d'une peinture de la dynastie Song ou d'un lettrage graffit�. Pourtant, on ne trouve aucune forme � d'�l�vation � dans ces gestes qui associent ma�trise technique et expression personnelle. Tout a sans doute �t� trop souvent (et depuis trop longtemps) recycl�, r�arrang�, d�tourn�, pour qu'une signifiation narrative ou psychologique s'impose. Une forme perverse de r�sistance au sens, semble, au contraire, �maner de ces assemblages f�tichistes : quelque chose de l'ordre du credo du mouvement anglais des � Mods �, avec leur extravagance modeste, leur sophistication normale et leur r�bellion bas�e sur la consommation de plaisirs.
Fabrice Stroun

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