PARALLELS

Ideorealist materials converge so a surprising extent: Jacquier & Guillevic have in their turn lived through the same experiences. The necessity of the line, as a tool, lead them both to the same field of research.

The materials which authorize total graphic expression are few: they are defined as drawing and engraving and only rarely as painting. Guillevic & Jacquier develop the means of expression which become drawing without ceasing to be painting.

The notion of drawing-painting demands materials which lends itself to lines. Vice versa, the drawing-painting demands a line that does not cease to be material.

The Jacquier blue owes its fluidity to watercolour, and its thickness to Chinese ink. Placed upon moist paper, this capricious material which take its ease, and that no "trick" will ever domesticate, apart from the eye and the hand of the artist.
The result is evident:

fusion of mind and matter .

Guillevic's brown is a walnut stain to which a certain consistency is given. Flat brushing defines an area where the instruments will engrave their signs. As for the previous technique, the paper is moist...and the time is counted.

Without ever being disconcerted, ideorealist painters have come to two complementary versions of the same desire. Jacquier expresses himself in black and white, Guillevic is written in white and black! The art of the empty has as much importance as the art of the full.

Curiously, Jacquier, a man of the land, swims in aquatic blue. Guillevic, son of a sailor, ponders in the colour of the earth.

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