Au Fil de L'Eau

The world is a different place since last year’s gala 20th Anniversary Exhibition with Pierre Marie Brisson. Yet, through it all, Pierre Marie has been hard at work, not in the studio as one might expect, but on a boat floating down the Rhône River toward the Mediterranean Sea.

This experience has given his paintings both a new direction and a refreshed way of seeing and presenting familiar themes. The river Rhône begins as the effluent of the Rhône Glacier in the Swiss Alps that flows into Lake Geneva.  From there, it meanders south, and along the way passes the remains ofancient Roman architecture and many of VincentVan Gogh's favorite scenic views in Arles, France. 

At that point the river divides into two streams forming the Camargue delta, a lush marshland habitat for flamingoes, horses, and bulls. Both river branches then flow on to the Mediterranean Sea, passing through a region that is the source of many of today's modern societies.  For much of the world this region is the nexus of European history. In this crucible of history both ancient and modern, Pierre Marie plies his boat up and down the coastline and from his watery vantage point he has been inspired to create a body of work which he says are like “three chapters of a book.” 

CHAPTER ONE: The first chapter harks back to his love of the female form, expressive figures filled with grace and femininity.  To house these figures, he introduces ghostly, evanescent rooms with a one-point perspective that is a brand new element in his work.  Fortunately, the rooms have windows since we, the viewer, are on the outside peering in. 

CHAPTER TWO: In Brisson’s second chapter his subjects evolve from portraits of people to portraits of trees, those sentinels of life with their roots buried deep in the earth.  Here Brisson evokes the four seasons, as viewed through a window, looking out from those ethereal rooms.  One series of paintings reminds us of a woman looking at herself in a three-way mirror – same subject, different aspects, new ways of seeing.  Through them all Brisson manages to capture the flora and fauna of the region in paint and texture.

CHAPTER THREE: The artist’s third and final chapter contains a novel subject for Brisson – a combination of land and sea.  Many artists of the past loved to work in the Mediterranean region because of its unique light and dramatic landscapes.  Brisson shares that love but takes it in a new direction.  As he says, “Monet put his easel on a cliff and painted the sea.  I am on a boat and paint the continent au fil de l’eau” (as the water goes by).

Of course, this does not mean he is painting the landscape exactly as it is.  Rather, what we see on his canvases were first viewed, internalized, and only then painted, not from the reality but from Brisson’s imagination:  a marvelous synthesis of land, sky, and sea.  Pierre Marie says that as his boat travelled along the coast it seemed to present to him a movie which he absorbed as it unfolded frame by frame.  It is this act of experience, integration, and synthesis that allows Brisson to paint so creatively yet so faithful to his subject. 

Brisson is passionate when he speaks of his life on the river and at sea and explains the meaning of various paintings and their titles.   For instance, his  L’endroit is that special place—each sea captain has one—that a sailor feel drawn to, somewhere to stop, put down anchor, take a nap, or have lunch.  “Mer belle” refers to those daily weather reports that all sea captains rely on for guidance.  In truly French, lyrical fashion, this one is that encouraging report we all hope to hear:  “the sea is beautiful.” 

The sea that Pierre Marie Brisson has found is indeed beautiful, and he has transported it to us.  It is my great pleasure to present this new collection of paintings by this important artist for you to enjoy and consider for your collection.