Micheline LO Series

At first glance, the starry sky appears orderly and stable. But, rediscovered by chance in the middle of the night, it has turned, as we know. Between knowing and seeing, the spectator on his terrace feels like a passenger on a looping. He suddenly thinks of the astronomer and his calculations, and slips with an uncertain step into the future. What remains, like a haven, is the mystery of darkness. From this, six paintings were born.

Before the living formations came the stars and galaxies. It behooved a cosmogonist of our time to attempt, if only for a moment, to apprehend the sky, the origin of origins. Not to recount the stories of gods, as did the Ancient mythologists and astrologers. Nor even to savor the harmony which, as Kant saw it, confirmed the connivance between the World and the Spirit. But sufficiently to alarm oneself at the preformations before any formation.

We tend to believe that, from the start of our universe, there were not forms, nor even atoms, but as yet unqualified Energy. The question since the year 2000 (Rees, Weinberg, 2000) has been whether our Universe would not be simply a specific solution to a Multiverse, for example with respect to the speed of light, the charge of an electron, etc., which as a result would cease to be universal constants sensu stricto.

How can a cosmogonist echo those moments so distant from our own bodies, even though we have known since 1963 that they move within an isotropic radiation of 2.7°K, fossil of the big bang? Indeed, as a master of perceptive-motor and logic-semiotic field effects, every painter is akin to the heroes of today's cosmic tragedy whose names are Collisions, Fusions, Fissions, Ejections, Annihilations, Dilations, Expansions, General Entropy, and Partial Negentropies, states that are close to and distant from the Equilibrium, not forgetting those Singularities which Stephen Hawking called points of space-time where the curve of space-time becomes infinite.

The painter is not lost for words before the eternal silence of those infinites spaces that so frightened Pascal, on condition that the perceiving cerebral landscape take precedence over the perceived landscape. As a result, paintings on that subject could not be titled "The Sky", nor even "Astronomy", but simply and exactly L'Astronome (The Astronomer). Each painting propounds protoperceptions, something of the "2.5-dimension" according to David Marr (see above), and recalling Malevitch for whom speeds, because they keep being so fast, end up being immobile.