Jean-François Soro: “Each of these paintings is an emotion”

“I leave you with my painting.” As Jean-François Soro leaves the space of his Madadayo gallery, the spectator seizes the opportune moment to experience, share or appreciate the painter’s summer exhibition.

A timely solitude reflecting the conditions of the creative impulses of the owner of this structure founded in 2022, whose exhibition, called Diaphane(s), forms a proposition which “leaves the viewer free”facing the intimate worlds of an artist who considers himself a passer or “matchmaker”.

Via a very sensitive hanging, the pieces on canvas or mounted paper offer a pictorial navigation in an instinctive, sensory land, close to abstraction but without really resolving there.

Around thirty paintings like so many windows onto the “Soroian” world

With a chromatic palette alternating between comforting azurean and invigorating purple, it is from his Cévennes refuge in Colognac or, from his workshop on rue des Mourgues, that seascapes, misty Cévennes greenhouses and valleys or even a meadow dotted with poppy red emerge. “Each of these paintings is an emotion” confides Jean-François Soro while the picture rails support around thirty canvases like so many windows onto the “Soroian” world.

Reader of René Char, Jean Baudrillard or Jon Fosse, lover of the introspective painting of the American Mark Rothko, the painter shapes this path of silence linking the canvas and emotion, in a gesture committed by an almost absence in the world.

A painting with an ethereal aspect, therefore diaphanous, of which a recent monograph accompanied by texts by Muriel Menuet, called “Rêveries†, gives the opportunity to leave a trace. This theme dear to Char (1907-1988) who ensured that “a“A poet must leave traces of his passage, not proofs.”

Those of Jean-François Soro are painted and, like the argonaut Lyncée, allow us to see through the mists of reality.