CityLink magazine . Miami FL
Forget da Vinci; Jean Pierre Rousselet tries to break the Michelangelo
code.
What if Michelangelo had apprenticed
at Andy Warhol’s Factory in New York City?
The results might be something like the works of Brazilian
born, Florida based, painter Jean Pierre Rousselet.
Rousselet rethinks the epic figures of the Sistine
Chapel ceiling in startling Technicolor.
The recumbent, well-muscled torso of Adam both emerges from and recedes
into a background that traverses the spectrum from fiery orange and
yellow to cool blue and raspberry hues. Although his rock ribbed midsection
is swathed in a patch of yellow, the rest of the truncated figure,
neither his head nor his outstretched arm beyond the bicep is depicted,
appears in black and white, as if he were carved from marble.
Bands of colored balls, a recurring
Rousselet motif that resembles the Benday dots appropriated by the
pop artists of the 1950s and ’60s, create an opposing diagonal to
the figure. The dots also appear in the artist’s version of the Sistine
Eve, whose sculptural, twisting torso floats against a sea of tangerine
orbs.
At the famous tension-filled moment right before the hand of man receives
the touch of God, Rousselet pivots the action from Michelangelo’s
horizontal depiction of the event to a God’s eye view, as the Lord’s
hand emerges from the foreground toward Adam’s outstretched digits,
the once only imagined spark between them now appearing as a dazzlingly
colored dimensional portal crackling with energy.
—
Bob Weinberg
Technical
media: acrylic on canvas
Eva sculpture: white concrete and patina
paintings size: 70 X 70 inches
Libyan and Hands: 70 X 48 inches
Eva sculpture: H 23, base 11 X 11 inches
Contact
jprousselet@jprousselet.com
Florida US
Your comments are welcomed
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