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Dimitri Kosire’s œuvre feeds off the sources of cosmic life. His creation intermingles its constant metamorphoses. By choosing to go beyond representation, his world is born of contradictory and complementary sources insofar as it reinvents an original landscape offered to a ceaselessly moving void without beginning nor end, to a void animated by a universal breath. The power of art is to make visible what had until then been invisible. Mental or imaginary, the artist’s lyrical landscapism sparks off within us an exultation, wherein emotion joins the intellect in a unitary quest by letting us partake in the painter’s half-godly powers. By turning down any descriptive function, his painting addresses only our affect which, following an oxymoric system, summons up images that we believe we already know.

 

 The canvas is the focus of a never ending renewal. Its surface knows its first epiphany of signs, fiery colors under the pressure of an unquenchable energy, as infinite as life itself.  That is what ordains the creation of the worlds and of their mutations, subjected to the materials’ alchemies. Carried by a gesture as spontaneous as it is mastered, the pictorial forms turn into strata, successive layers carved out of a geological paint. The paths are provided and the metaphors proliferate. The darkened or milky nebula, the springing forth, the minefields, the marblings, the slidings, and the efflorescence are those of the sky and of the earth, of oceans, of volcanoes, of the forest. Faced with this immense materialist and colored tide, wedged in by the paint’s depth, by the transparencies of the fluid abysses, set in concretions provided by a flamboyant palette, we are seized and moved by these unlikely landscapes. And yet ....

 

 Colors handed over only to their expressive power and that explode before our very eyes, an abysmal white and black, representing only their own entity, are those that we observe in nature. But Dimitri Kosire upsets our usual ways of seeing; he disorientates us and carries us off inside a spectacle where reddening and darkening cataclysms give way to clear mornings. The subtle combinations that make up his painting have no other origins than that of the artist’s own singular lyricism, which achieves harmony by means of antagonisms. The valleys join the mountains; the waterfalls join the seas criss-crossed by the Being’s convulsions. Man lives alongside his painting. He is within the ethics of an art form that he exercises, driven by an ungovernable urge, which he shares with us by projecting us beyond ourselves.

 

 

Lydia Harambourg

Membre correspondant de l’Institut Académie des Beaux-Arts                             Historienne Critique d’art

 

Translated by Ann Cremin

 

 

 

 

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