These heads of Frankétienne jostle the aesthetic forms

Since his first presentation at the Dante Aliguieri Hall, he has been at the Italian international safe haven at the Bicentennial in advancement. This show had turned around the thoughts that the Haitian open had procured about the national painting. He had bumped primitivism, yet in addition tested our contemporary workmanship. He hurried into the stretch of acknowledged tasteful structures and could even question Bernard Séjourné if the working class had an attention to his personality.

Amid my last visit to the painter, I inspected the extraordinary frescoes of this first presentation, with, in memory, the political strife of the time. I likewise respected what could be considered as “the development” of the painter.

Truth be told, Frankétienne himself would deny the expression “advancement”. He puts himself in a minute past his imagination. He has, obviously, left aside the expansive territories. He accepted at the time that the fall of arranged Duvalierism would prompt a tremendous social restoration where Haitian craftsmanship would leave the salons to be on the dividers of the city. Be that as it may, it will be neither Siquieros nor Rufino Tamayo. At home, there was no unrest like in Mexico. The season of the temporary governments continued its happy way and the attempting substances reemerged. Frankétienne, while adapting his tasteful way, comes back to medium measurements and miniatures.

He had effectively settled himself with abstract works, for example, “Mur à Crever” and “Dezafi”. The pictorial work set aside a long opportunity to be perceived, acknowledged and, at last, to be shown in the salons of the individuals who, mindfully, challenged a freedom of the soul secured in the extravagances, euphorias and refinements of the School of Beauty .

The painter talked a ton about his specialty. In the case of, amid this period, he alluded to Pollock or Atlan or Dubuffet, he turned out poorly far in stylish extrapolations. Then again, he reported an aesthetic articulation looking for the lost Haitian pearl. As right then and there, he was as yet connected to “argumentative realism” and stood firm for the lowly insurgency, the sane he was did not see that he was investigating an internal existence where the lost Haitian pearl had been concealing, the sheep meandering.

He in this manner required a decent ideological mishap. He read Freud, Lacan, Camus, Sartre, Heidegger and submerged himself in the “ocean of ​​mercury” of quantum material science. He made revelations both about the “astral ensemble” and about specific mysteries of voodoo. What’s more, the pictorial argumentation comes to fruition.

No dating can group this thick work investigates the universe of the marshes of the aggregate awareness of the Haitian individuals. It is never again a matter of putting the “assotor and the ason” in “respect”. This time, it is tied in with investigating the bad dreams, injuries, schizophrenia, dread, bashfulness that inside detain a people. Since, to demand excessively on the “transgression” in our sanctuaries of commotion and on our open spots committed to the abhorred saints, there was a retreat in the Haitian group mental construction. The blame step by step settled, at that point the Tower of Babel, at that point the trap, at that point the low blow, at that point the catch of vitality, at that point the entropy, at that point this horrendous malady which one can call the disorder of the mediocrity .

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