About the artwork

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Incontestably Pioger has a signature of his own. His view is intense, sharp and without concession. His pictorial world is the woman in her expressive nudity. He unveils the body according to his intimate perceptions and the authenticity of this unveiling retains the attention and invites the dialogue. Through the presence of the different women, on the canvas, he discloses his thoughts on humanity. He brings to the surface the sometimes contradictory feelings that we hold inside. The expressionist distortions, underlined by pronounced willful or delicate strokes, exalt the true feminine beauty and sensuality.

He searches for what is beyond the visible, for it is the inner truth of each being that he interrogates constantly. The light is omnipresent, hitting with more or less intensity the faces and bodies, combining with the shadow, giving vitality to the flesh and expression to the face. No unnecessary detail comes to disturb those "portraits", therefore they exist with more reality on the canvas. In each of the faces he paints we can see the same will for stylization in the angular shapes, in the large eyes strongly underlined, in the bridge of the straight nose sometimes starting from the forehead, reminiscent of some African masks. Nevertheless those faces evoke people of flesh and blood, vibrating with diverse and secret emotions.

The sober palette of blues, mauves and ochre are supported by a few muted blacks and reds. The rich texture worked in smooth uniform strokes, revealing the delicate exquisite fragility of the youthful form, or in melted stains, architecturally defining the body.

"Who are we?" the title of this painting reveals the constant search for oneself, sometimes through others. The eyes lowered, staring or filled with concern tell of the interrogation, the resignation and, always the modesty.

 

______ABOUT THE ORIGIN OF______

"ESPECESPACE"

The series "shuting", that is the origin of the ESPECESPACE's show, is difficult to apprehend. We are in the presence of characters often isolated that create a mirror effect. As such, they reflect a picture of ourselves that give an objective assessment, which touches a major taboo – the unstable balance of our mental being -. The barriers are tenuous which open up the blurred world of common madness, psychosis linked with our increasing distance from primordial archetypes. More than ever was the case in the history of humanity and with globalization adding to it, our individual identity is for each one of us tricky to assert, such is the weight of consensual and the hindering that originate from it complicated to break. Results from this an infinite solitude that of an untreated conscience rendered all the poorer when faced with the complexity of life.

We are here confronted with conditions of claustration, which are all the more difficult to bear, because they participate in varying degrees of our daily reality. At the sight of this deliquescence of mind and flesh, an extreme pessimism arises, an austerity, and hardness sometimes unbearable.

The viewer is in a first instance disturbed by the revealed visualization of our inexorable senescence. One can say that this work is unsettling in its imperative absolute which forces one to confront one's own teleology. It is a kind of scream, which echoes our anguish.

As is the case with the abominable gargoyles which adorn the outside of cathedrals, the frightening nature of which we must overlook in order to access the very heart of the mystery they protect, one must also go through and beyond the fear instilled by these characters frozen in paroxystical poses. Then, only after to have achieved this crudely revealed lucidity, the work imposes itself with great tenderness and indubitable poetry and love, which tear down the walls with the hope they raise.