Louis-René Berge  - Texts

 

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Burin and what else ?
(extracts)

 

Choosing the mode of expression, the closest to one's sensivity is having access to a quality of life.

Etching offers several possibilities leading to two main directions :

one by using a sharp tool (burin, metal point and soon...) to cut the copper.

The artist chooses one or the other, or both at the the same time, according to the desired effect.

The way I choose for this long journey over a few square inches is a piece of metal stuck into a wooden handle, the beak of which will furrow the copper.

Even if the hand is skilful, the journey is not devoid of risks and surprises.

Somewhat of an inner dream should overcome whoever is bold enought to tempt the adventure.

The burin line is unique. It is easily recognizable (by enlightened amateurs).

The explanation is simple. In order to plough the groove, the tool is pushed forward, "upwards" whereas in other technics, it is generally the opposite.

This type of pressure involves the whole body, making the gesture very physical.

The expended energy gives this characteristic clearness and firmness to follow a discipline : I discovered the rules to express my ideas and feelings within the confines of the lines which, if respected, leads to precision and rigour in the work.

Standing between conception and achievement, the tool plays a decisive part and becomes a real actor in creation : it is an everyday companion, which, by turns, commands or obeys.

This work favours patience and reflexion, closely linked to one another.

Isn't it almost revolutionary to cultivate an art a time when speed is the rule.

As for me, I consider that this exercise is a way of living founded on a code of aethics.

This work imposes rules where the mental is interminghed with the manual, this better allowing a slowdown that may induce reflective creation.

Louis-René Berge

 

 

 

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