Author Louise Cazals ('L'Âme de travers') wrote about the Artist:
'If I was a writer, I wouldnt be a painter or sculptor.' This is how Jean-Luc Lacroix inducts its mission to sweep all the untold discourses on the justification of his art.
Contemporary and contemplative creator, he shows his talents in many fields such as sculpture, furniture design in recovery art, drawing or painting. Listed as an 'emerging artist' in Akoun and ArtPrice guides, Jean-Luc Lacroix regularly exhibits his works at auction at Hotel Drouot in Paris. They are the subject of exhibitions such as 'Jeune Creation Contemporaine' (Young Contemporary Creation) with Tessier & Sarrou study.
The painter of nebulous worlds
If Jean-Luc Lacroix makes a big noise by wielding shears and forge, he also invests painting to shape the colors in the manner of his inner world.
His paintings expose the eye of the observer to a primitive system where the clarity of the beings opposes the immutability of a rebellious nature. And always, these evanescent women or illusory notables that materialize themselves in a white aura. They symbolize the virginal purity of a wandering soul in an inhospitable environment. Never the expression on their faces will be unveiled. Only the posture of their long slender silhouette hints the nature of their emotions.
These beautiful souls with living embossement, and their dream riders are the leitmotiv of Jean-Luc Lacroix's figurative work. Autonomous entities by their elusive nebula texture, they are walking over the landscapes in oppressive universe. Their atoms are tightening as to minimize contact with this abrupt background. The decor shines through their faces as if they absorbed all the greatness of this untamed nature. Humanized candles, they often progress, the back bent to humbly acknowledge the supremacy of this monstrous environment. Flexing under the yoke of bondage, their antlers crashe at the mercy of the storm.
The background of his canvases shows a chromatic spectrum composed of distinct tints, red, green and blue. Usually, this color trio encodes the mosaic of our audiovisual screens on a scale too small to be visible to the naked eye. Here, the pigment forms an archaic task, too thick to blend into a sophisticated color chart. Now, the artist offers us work of goldsmith on the play of colors. This exploration is the result of an almost unsuccessful search for delicate fragrances aimed at obtaining a subtle blend in tune with the present moment.
The atmosphere is heavy, leaden by a brown or imprecise blue sky. It is not the Earth, solid, which presents itself here but a degradation of the elements. Thus, the light remains fixed in a primitive clay. Jean-Luc Lacroix reveals a genesis of states of mind as if to bring us back to the origins of our inner quest. In the sense of the alchemical work, the mud is a matrix whose capacity for transformation is inexhaustible. Thus the idea of gravity is effaced. The spirit stretches towards the cosmos, while the body, flesh and blood, strives to satisfy its primordial needs.
Faced with this duality, the character of his paintings invites us to a moving inner journey. A gentle poetry emerges where the thoughts, dematerialized, succeed in escaping from a mired reality to fly to the confidential universe of the painter.
Through his compositions, the artist invites us to recycle the perception of our environment. Nothing is lost, everything is potential. In short, Jean-Luc Lacroix is an artist who recovers you.
From scratch...
Crude, is the first word that comes to mind watching a sculpture of Jean-Luc Lacroix. He explores his personal mythology, devoid of any academic dogma, to invent an extraordinary fauna from nothing, that nothing we neglect by habit.
The eye of the novice puts the alley to plain imaginary of his creations. We are afraid of rubbing ourselves to the pupil. The material is rough as is the crocodile skin, the metal is likely to flay us the feeling. This rustic accumulation announces the finesse of a sensitive temperament. The choice of four basic elements is not stranger to a love of the land.
Silent, he cocks his artistic integrity in this fertile soil, beating the iron of his emotions and fanned on the embers of inspiration to offer us contemplative idols.
The work of Jean-Luc Lacroix make us easily approached. The facetious nature of his characters, sometimes funny, sometimes ironic, plunges us into a reading of the 'Fables of La Fontaine' revisited.
The aesthetics of this gleaming arch pounding suddenly with chisel, ripping to his impulses a deep creative idea. He swapped his blacksmith tools against a little piece of pastel.
This preparatory phase, time and abundant, matures thousand sketches before throwing a specific act on the sheet. Malicious names often accompany his sketches to highlight all the hilarity and the accuracy of his line of pictorial author. On one end to the other of his biting and funny drawings, he offers us a new allegory to evoke the society: its beauty, like its failings.
As a lapidary, Jean-Luc Lacroix has carved many facets to his art. It scrutinizes the contaminated material, recognizes his brilliance and sublimes it. Adept of Recovery-Art, he is also very fond with the raw materials such as wood and metal for composing design furniture. To the homebody who devours a renewed work, he gives to these forgotten items a second life that will complete with charm a unique room.'
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