On the twelve canvases on display by French artist Pierre-Yves Le Duc, at first one finds the body; however not in the totality of its existence but in the more intimate and erotic part represented by the female sexual organ.
In Pierre-Yves Le Duc's opus the essence of bodily characterization takes shape through a properly sexual dynamic. Nothing is hidden but everything is manifest, being painted with competence. The brush stroke, quite evident on the canvas, is accurately repeated over and over. Redundant and creative, allusive like oriental calligraphy works, it has a somewhat ecstatic quality, takes up space, and displays a specific style, a power of its own. It refers to that corporeal and erotic matrix but takes on a different essence in form and distinction. The issue it covers is painting in today's world. We are obviously looking at a female sexual organ but at the same time, through the artist's skillful and long work, we are carried into the search dimension proper of art. What should be done today, and how? His is a radical choice: he speaks of eros and keeps the discussion going.
Le Duc veils everything with the blue colour, which leaves much room to imagination. Blue is a symbolic colour: it calls to mind skies and infinite spaces and has a very clear connotation in art. This blue appeals to the eye; if on the one hand it conceals, on the other it definitely leads us straight to the heart of the scandal, represented by the particularly explicit corporeality. The plasticity of the elements – the semantics, in fact – should not mislead: Le Duc's style seeks perfection in repetition, wishing to demonstrate to what extent that primeval corporeality is a Temple to be respected and understood.
Concerning the use of the veil, the artist observes: "With his slashed canvasses Lucio Fontana opened a breach in by-dimensionality and introduced the concept of space. With no wish to place myself on the same level as he, and only because Fontana confessed – perhaps as a joke – that his cuts hinted to the female sex, I will make a quick comparison with my own production. The affinity I feel comes from the perception of the unknown given by Fontana's cuts and the transfiguration of, or distance from, the pictorial object that I produce with my canvasses by using veils. In my research, work is aimed at visual perception. More precisely it points to the way in which, in addition to conveying a meaning through signs, these last as well are conveyed so as to open the door to unprecedented perceptive sensations, if possible. I would like there to be a perfect harmony between the message and its vehicle. A sensory cognition."