Ceysson & Bénétière

Louis Cane, after a time of repetitive tracings of “x” shapes, begins to rubber stamp the entire surface of the canvas with the phrase «Louis Cane, artiste peintre». Thus, he reduces the pictorial surface to a mechanical accumulation exhibiting the artist’s logo. This critical posture opens the way for Cane’s theoretical reflection. Later he will emphasize folding and cutting the canvas to let the flexible surface affirm the edges of its colored extent. He highlights the emotional power of the canvas in the series of Sols/Murs, stained with colored ink in order to adapt the washes of Chinese tradition to modernist art. After a sort of celebration of classicism, Cane takes on the deconstruction of the human figure and of colored variations declined according to a grid structure that renews with the Supports/Surfaces spirit.