Jacqueline Poitevin
Née en Touraine, j'ai grandi au milieu de prairies verdoyantes traversées par une rivière. J'ai passé beaucoup de temps à batifoler, à dessiner et à peindre sur tous les supports que je trouvais dans mon environnement. Puis, interne au collège et au lycée, mon monde s’est rétréci ; alors, j'ai écrit et dessiné sur des feuilles de cahiers quadrillés ! En arrivant à Paris, j'ai découvert les musées. Mon studio inconfortable, sous les toits, était si petit... que je rêvais que le monde s’étalait à mes pieds. J'ai commencé à voyager en Espagne, en Italie, au Canada, au Pérou, aux États-Unis, en Colombie, à Pékin, en Tunisie, en Egypte... En 1998, je suis partie enseigner le français en Colombie. Puis, je suis revenue en France, où j'ai eu du mal à trouver ma place. En 2002, je suis retournée en Colombie dans le cadre d'un projet d'accompagnement des communautés afro-descendantes et indigènes dans une zone de conflit : le Chocó, au nord-ouest du pays, où j'ai découvert une nature exubérante, luxuriante, des forêts primaires, sur les rives de l'Atrato, un fleuve d'une largeur exceptionnelle et... des populations variées dont j'ai beaucoup appris. Au cours de mes différentes expériences professionnelles, j'ai eu l'occasion de travailler avec des artistes qui m'ont enseigné l'écriture, le dessin, la perspective, l'aquarelle... et enfin l'acrylique. Ce n'est que bien plus tard que j'ai découvert l'abstraction. J’ai alors commencé à peindre, sous le regard d'un artiste-enseignant, sur de grandes toiles directement au sol... une liberté incroyable. Très récemment, une étape cruciale pour moi a été d'accepter de partager mon univers artistique en montrant mon travail et de m'en séparer... de le laisser aller... ailleurs.
Born in Touraine, region of the Loire castles, I grew up in the middle of green meadows crossed by a river. I spent a lot of time fooling around, drawing and painting on whatever media I found in my environment. Then, in middle school and high school, my world shrank; so, I wrote and drew on sheets of squared notebooks!
When I arrived in Paris, I discovered the museums. My uncomfortable studio, under the roof, was so small... that I dreamed the world was at my feet. I started traveling to Spain, Italy, Canada, Peru, the United States, Colombia, Beijing, Tunisia, Egypt...
In 1998, I left to teach in Colombia. Then I returned to France, where I had difficulty finding my place. In 2002, I returned to Colombia as part of a project supporting Afro-descendant and indigenous communities in a conflict zone: Chocó, in the northwest of the country, where I discovered an exuberant nature, lush, primary forests, on the banks of the Atrato, a river of exceptional width and... populations from whom I learned a lot.
During my various professional experiences, I had the opportunity to work with artists who taught me writing, drawing, perspective, watercolor... and finally acrylic.
It was only much later that I discovered abstraction. I then began to paint, under the watchful eye of an artist-teacher, on large canvases directly on the ground... an incredible freedom.
Very recently, a crucial step for me was to agree to share my artistic universe by showing my work and to separate myself from it... to let it go... elsewhere.
Early in your career, you spoke about the constrained spaces of your Parisian studio contrasting with the expansiveness of the landscapes you encountered during your travels. How has your physical environment—be it constraining or expansive—shaped the way you approach the blank canvas?
The place where I am to paint has little importance. It only influences the choice of the format of the canvas. Indeed, when I start to paint, I am in a bubble, in my "universe" and the environment remains external, only music can join me there.
I approach the blank canvas with the emotions that want to express themselves ... the colors impose themselves, as well as the tools I use.
In general, the gestures are automatic. I don't need any preparatory work, no reflection.
In fact, the preparatory work is finished well before! During my wanderings, I keep an impressive quantity of images, colors, and emotions, which will later nourish the creation and allow it to express itself during a painting session.
You describe your artistic process as a spontaneous and almost meditative interaction with the canvas, where the choice of colors and the act of painting are intuitively guided. Could you delve into how your memories of diverse landscapes, from the lush forests of Chocó to the meadows of Touraine, manifest in your color choices and painting techniques?
Since childhood, I drew and painted, reproducing what I saw. Then, much later, I discovered abstract painting and acrylic, which allowed me to further nuance my work.
From my birthplace, Touraine, to Colombia, nature nourishes my pictorial universe. The colors in these places are of an extraordinary, unequaled richness.
The colors tint my emotions, which I spread on the canvas with spontaneity, offering infinite nuances. I don't associate color with emotions. For me, harmony and serenity emerge; these are reflections of my inner state.
A crucial turning point in your artistic journey was the decision to exhibit and part with your paintings, to let them "go elsewhere." Can you elaborate on the emotional or philosophical evolution that led you to this point? How has this 'letting go' influenced your approach to new projects?
Letting go is a practice that I apply in many areas of my life. My paintings are scattered throughout my home, almost overwhelming in their presence. When my friends expressed their appreciation for my art, I felt the urge to display them and confront the gaze of others, seeking recognition that fulfills a personal need. Deciding to exhibit and part with my paintings opened up numerous opportunities and projects beyond my imagination. Each new endeavor takes me further and pushes my creativity, sometimes even intoxicating me. I am open to proposals that challenge my comfort zone, stimulate my creativity, and push me to explore new aspects of myself. Despite these experiences, I remain grounded as a country girl, drawing inspiration from the land that nourishes me in every sense. This connection to the land fuels my creativity, preventing it from becoming stagnant.
Throughout your extensive travels and particularly during your time in Colombia, you were immersed in environments with rich indigenous and Afro-descendant cultures. In what ways have these experiences permeated your artistic expression or altered your perception of the role of art in society?
The experiences I had in Colombia, particularly with Afro-descendant and indigenous communities, have enriched my life both on a human level and on a "spiritual" and "philosophical" level. Let me explain: these communities, located in Choco, an area of armed conflict with little to no presence of the State in terms of health, education, and basic necessities, taught me how to live fully in the present moment. They showed me how to find joy, simplicity, and spontaneity without feeling any lack. Their way of life has influenced me to accept what is, both in my daily life and in my art. I strive to express myself spontaneously, just as they do. The harmony they have with their environment is something I try to convey in my work. It seems that the main thing I aim to transmit through my art is harmony and serenity. If my art has a role, it is to evoke pleasant emotions in the observer, nothing more!
You mention that each painting offers its own reading to the observer, suggesting a dynamic interaction between the artwork and its audience. How important is the viewer's interpretation to you, and do you ever find yourself influenced by these external perceptions in your subsequent creations?
Indeed, the viewer interprets a work in their own way, and I believe this adds to the richness of the artwork beyond what the author intended. I enjoy listening to and engaging with those who observe my paintings. However, these interactions do not necessarily influence my future creations, as my work is not a result of conscious reflection. Nevertheless, everything is interconnected, and the energy of my work is influenced by these interactions.
You've expressed that abstraction grants you "great freedom" and a sense of serenity. Could you discuss how the abstract form liberates you compared to more figurative or representational art forms? What does abstraction allow you to communicate that other forms might restrict?
Freedom is essential to my life today. This freedom, which I have often sacrificed to meet the demands of the professional, social, and even artistic environments... This freedom that I experienced when I was playing in the Touraine countryside, surrounded by meadows, rivers, and groves, is so dear to me. I reflect on the constraints, which were certainly necessary, that I faced during my apprenticeships with different artists, and even during abstract art classes in the Beaux-Arts workshops, where it was necessary to "do things in a certain way"! Of course, I learned a lot, and the techniques are obviously essential.
Your process is unique in that it starts directly on the canvas without preliminary sketches or plans. How do you navigate the balance between spontaneity and intention as your work progresses from an undefined play of colors to a finished piece? Is there a moment when you decide the narrative of the work, or does it remain open-ended?
When I start painting, I don't have any specific intention. If there is any intention, it tends to block me and lead to nothing. Instead, I feel a much more powerful force, which I could call inspiration. It's this special breath that allows me to create, inviting the colors onto the canvas, letting them land and spread out in a certain order or disorder. Sometimes they mix without my intervention. This force stops when the desire to create ceases. Occasionally, colors and images impose themselves before I begin, but that doesn't mean they will appear in the final work. The story of the work may become clear immediately upon seeing the result from a distance, by moving the painting, or after some time. Sometimes, the work remains "untitled"...
You've had the opportunity to learn from various artists across different countries. Could you discuss one or two pivotal pieces of advice or insights you received from these mentors that have deeply influenced your approach to art?
I consider myself lucky to have learned techniques such as drawing, perspective, painting, and art history from artists with diverse backgrounds and training. I also had the opportunity to explore writing and theater. This experience reinforced my belief that anything is possible, that freedom is a choice, and that it involves letting go of classical forms and expressing ourselves as we truly feel. One of my mentors emphasized the importance of listening to our own hearts and emotions, and encouraged us to pursue our desires without seeking approval from others.
Your description of painting is almost visceral, involving a physical interaction with the canvas laid out on the ground. How do you think the physical act of painting, involving all senses, influences the emotional or spiritual depth of your work?
When I paint on the floor, which I love to do, it allows me to work on larger canvases and engage my entire body. I have more freedom of movement and can express every part of myself. It's intimate yet also modest due to the abstraction. Working this way pushes boundaries and gives me greater freedom of expression.
As you look to the future, in what directions do you see your art evolving? Are there particular themes or techniques you are eager to explore, or do you anticipate your style will continue to change as organically as it has done so far?
I am always eager to paint. When I can't paint, I store images, colors, smells, music, and flavors, which I later use as inspiration for my art. Maybe one day, I'll want to explore something different! Sometimes, I paint based on a specific theme for an exhibition, which is an exceptional experience. I immerse myself in images and atmospheres related to the theme before creating my own interpretation. As Antoine Lavoisier said, "Nothing is lost, nothing is created, everything is transformed."