From 1956 to 1960, he studied at the school of fine arts of buds. He's interested in industrial waste and fingerprints. From 1964 to 1975, he was a chromist engraver in a typographical print, which prompted him to explore impregnation processes linked to the making of specific tools, such as nuds & ligatures.
Between 1968 and 1973, he studied the relationship between canvas and tool and obliterated webs. Jaccard quickly disturbs the classic or traditional act of painting.
Free of any chassis, the canvas. Placed on the ground, is printed using what it calls "tools": natural objects (plants and insects), paper, ribbon. His work places him in concerns similar to those of the support/surface group (of which he was not a member).
Nevertheless, exhibitions dedicated to the group have sometimes associated Christian jaccard. Starting in 1971, jaccard used "tools" such as rope, string, and especially nouds.
They replace the brush to leave their prints on the canvas, when they are not erected as statutes (nouds). It also burns slow wick tools which by their combustion draw their traces. On free canvases and other supports. From 1977 to 1983, the tool paints and the practice of combustion generates new sets: anonymous calcined, trophies, burnt canvases.This opens up a new way for him: he submits to the destructive heat of anonymous canvases (xvii, xxviii, xixe and xxe centuries). The initial aspect - portraits, religious scenes - is metamorphosed. It will reproduce this process with movie advertising cues.
Combustion attacks some parts of the image to leave others more visible. It "redesigns" and crystallises it.In 1984, during a stay in italia, "red emitted" was born. His ash path joins the land-art, once again scrambling the tracks to escape any classification. In 1989, he developed the "burns". Then, during the 1990s, the "supranodal concept". Jaccard lived in Japan in 1994, at the Kujoyama villa. In the 2000s, with his work on the outside in places in disinherence (industrial friches). The problem of the painting emancipates without denying its origins. His workshop becomes a nomadic and ephemeral laboratory at each stopover. The jaccard opening is organized around two axes (nouds, and combustion) by specifying its research on traces, prints (whether due to stamping, combustion, folding, calcination or braiding). In both cases, he uses a well-defined method; each of his actions, his actions, is exercised rigorously, without stunning, without flirtation, conceptualized and controlled. Poster of the 1979 exhibition. In which the work was proposed for sale below. Very beautiful lithography in colors. Without date, signature in pencil under the subject at the bottom right.
And justification of the draw at the bottom left ea (artist's test). Dedication of the artist in pencil at the bottom of the sheet under the subject. Beautiful thick paper of type arches.
Format of the sheet about. Beautiful abstract composition in colors.Very clean and fresh copy, very light paper. Jauni in the margins as always. Very minimal usual inevitable traces of various manipulation. Light folds various on edges, corners, etc..
this is not a reproduction.. this item is in the category "art, antiques\art of xxe, contemporary\estamps, engravings". The seller is "amideslivres" and is located in this country: fr. This item can be shipped to the following country: whole world.