Jean-François Le Minh’s current practice engages with the discourse surrounding the status of painting today and its atemporality in relation to conceptualism.
The recent paintings push the boundaries of what constitutes painting and, specifically, what comprises art. Traditional oil paints are mixed with spray paint, acrylic, enamel, thermoplastic, American stationary and the debris of the studio: paper towels, gum wrappers and dried waste.
A growing interest for the observation and often appropriation of found mixed material has been keys-components in his studio practice. They shape a certain kind of pre-determined abstract physical formulation essential to edit the surface on the canvas.
Jean-François Le Minh has been concerned with what painting and sculpture can be or might be in our current society. He has chosen to start developing a language of his own. Composed of traces, marks, and interventions on the canvas’ surface. Through acquiring traditional techniques but also with an ability and aspiration to redefine and challenge some of the technicality in painting. By composing his own mixtures and constituting particular textures and colors.
The painterly writing and its three-dimensional sculptural expansion are both the product of rhythmic action and a search for forms under the influence of time with the intention of directly engaging with a language of painting instead of an appropriation of its vocabulary.
The last body of works worked its way into his studio practice, informing the rich materiality and musculature of my work — A perpetual striving and searching that pushes the work against limits and convention.
This current series of works is a reflection of this moment – it vibrates the rhythm of a saturated capitalism society, our post-logical era.
It is about focusing on the structure, discovering and molding pictorial forms such as the language of traces for its own sake.