Bénédicte DEVILLERS

Art(s) : Painting.
Mouvement(s) : Dream.

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63, rue Guillemard
76600 Le Havre
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Criticism

Mr et Mme Gorgô is the shared signature of two exceptional artists, Michel Gouteux and Bénédicte Devillers, whose chance meeting at an exhibition is the origin of a particularly original symbiotic work which allies the conceptual imagination of one with the exceptional pictorial skills of the other. The result of this collaboration therefore takes on an entirely innovative and fertile character. It is the perfect demonstration that as we enter the 21st century, even if nothing is prohibited in the domain of art, painting is more capable than ever, in the manner of Surrealism in the second quarter of the 20th century, of enlarging the field of artistic expression by invading the domain of the subconscious. Gorgô rewrites universal archetypes in an iconography brimming with ingenuity in order to convey the dreams and anxieties of the human race. These enigmatic paintings illustrate a personal mythology. They appeal, upset or disturb . . . but never leave the observer indifferent. They operate a clever mirror effect through their subjects, which are shamelessly engaging and tempt us into “voyeurism” by leading us into an intimate world that is both inaccessible and open to doubt. This phantasmagorical universe, which is born in the very depths of its conceiver’s subconscious and skilfully put into perspective by the painter, takes us on a fascinating and provocative journey of discovery to meet half-man half-beast hybrids stemming from ancient Greek iconography. It is hardly surprising therefore that, for their pseudonym, the “duo” chose the Gorgon (in Greek Gorgo), the imaginary creature capable of petrifying those that look at it. Gorgô’s work is carried out in perfect harmony: Michel Gouteux “shares” his imaginary world by designing and composing scenes and motifs, the drawing is executed four-handedly, and the brush is wielded by Bénédicte Devillers who, perfectly attuned to Michel Gouteux’ world, brings the work to completion. The composition is very studied, the graphics precise, the brushstrokes meticulous, and the palette dazzling, with its bright colours and red accents. The magic created by the picturesque decors enhances the impact of staging of characters in situ. Gorgô seems to be a distant echo of the Expressionism extolled by Die Brücke and the New Objectivity that arose in the early 20th century, which denounced the contemporary perversion of a degenerate society lacking new values. While seeking to give meaning to this exploration of the human soul, both in its beauty and its darkness, Gorgô never fails to suggest a certain derision of humans, the aim being to convey a “lightness of existence”.

Francine BUNEL-MALRAS, Historian of Art