All the works exhibited focus on 4 different series : portraits of men and women, Buddhas heads, Sanguines and paintings on existing details of the masterpiece by the Van Eyck brothers, The Adoration of the Mystic Lamb, achieved in 1432.
Through his portraits, Jean Claude Wouters wants to reveal the light inside the humain being by producing acheiropoietos images (that means "not created by humain painter"), based on the unique use of the light on the sensitive surfaces of the negative and the photographic paper. The artist developed a personal and unique technique based on the silver photography process of the 19th Century. This technique consists of producing artworks by taking successively in photograph the same original image. He uncovers by successive layers the images of every superfluous, until he finally seizes their essence and reveals our deepest being.
Passionate by the primitive statuary and used to photograph wooden burned Buddhas of the 9th Century in monastery and Kyoto’s museums, Wouters shows for this new exhibition an original project about Buddhas heads exhibited at the Cernuschi Museum.
At the edge of conceptual art and the opposite of Buddhas portraits, details of the The Adoration of the Mystic Lamb and the Sanguines reveal of the addition of material and the touch sense. Jean Claude Wouters has always painted on images, in particularly on reproduction of masterpieces from ancient books.
By covering details of the The Adoration of the Mystic Lamb of gesso, the simple material which is used to prepare the canvas, with his gingers and a Japanese paintbrush, he founds back the sensual contact with the paper. Impregnated by his dancer formation, he steps into materials, with rhythm and breathing. The energy of the the numerous characters of the polyptique is then resurrected par the gesso layers, sort of a Milky Way divided in a infinite possibilities.
The Sanguine serie reveals a similar approach. The addition of this glowing and sanguin material gives a second life to the imagery playing with the spectator’s memory.