1957 - Sedan - France Self-educated artist
The intoxication of view
"The irony and shortens breaks up, it breaks the continuity of discourse and establishes dialogue and dialectic. She stops en route, by asceticism, to avoid lapsing into the pathos of complacency. '
To capture the essence of painting Delatour, do not stop at the first appearance reminds us that his works. As to commit such an odd, we would simply say: Delatour's work is a combination of the styles of Matisse and Mondrian: Matisse, she kept the love of simple shapes and sinuous lines of Mondrian, the intelligence of colors and structures. But merely to draw such a conclusion, we would miss the next "Pop" of these paintings, that is to say, what is their irony and conscious.
To say, at the outset, in a condensed form and brief: Delatour in the work of the intellectual and pedantic nature of abstraction (the blank character or spiritual) is reduced on the side of a simple and naive figuration, figuration while, as long as it merges in places with abstract frame that supports it, loses its simple and naive to become, on the contrary, something like a visual object unidentifiable. In other words, far from being a disciple of modern artists, Alain Delatour door to limit the extremes of the symbolic chain (abstraction and figuration) and makes them confused - or rather, self raise / lower - in a hearty laugh.
What does it look like a diptych in wine and women? At first glance, what we see is just a bunch of circles, at best, a pile of bubbles, something like a cluster of grapes seen through a colored filter, cluster geometry is a line through sometimes on the right, sometimes on the left. But all of a sudden, everything changes, and that line, seemingly innocent and abstract began to draw, almost unbeknownst to us, a woman's body. In other words, that instead of the image to the abstract fantasy, soft and relaxing, we end up with a table showing us a woman's body and, what is more: a naked body!
Forbidden fruit from the intoxication of view, naked body therefore makes obsolete the innocence of our first perception. At the same time, and such is the strength of Delatour, this body, this sketch, this serpentine line, the moment we cease to devote all our attention on it, becomes just one element of any abstract element to which it belongs and which it does borrow its true meaning. This is, perhaps, the ultimate meaning he must give the humor that deploys the work of this painter in both irony and clever schoolboy: he left his load spectator to choose - between the body innocent and erotic abstraction - depending on which is his desire, that is to say, according to the desire that haunts him.