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Manifesto

of the

Abstractive Geometry

The purpose of the Abstractive Geometry is to contribute to founding a humanist Geometric seen as a mechanism revealing the vibratory essence of the simple form, inviting to abstract from the visual work the elements participating in the fundamental sense of the "Beautiful felt".

Through the composition, interaction and resonance of shapes, materials and colors adapted to a given environment and to it alone, Abstractive Geometry aims to integrate into non-figurative art an intellectualized component of sensory well-being.

This approach can be understood as favoring a spiritual approach to the constituent elements of the materiality in which we are immersed, in the same way as the altarpiece of the Flemish primitives or the portable Orthodox icon, for example.

This is why my works, which claim this singular conceptuality, only work in the form of triptychs or diptychs. The latter obey a rule of meta-positioning in the universe in which they are exhibited.

We can also, by this very fact, consider this approach as part of a semio-pragmatic perspective of the relationship of the subject-reader to the environment in which he intends to place the work he has commissioned or acquired. The geometric form, seen here as an artistic sign when it is placed in the context of a pictorial composition, engages art through new uses, bringing into resonance intellectual, sensory, even spiritual components, intimately mixed.

And if it were objected to me that this can be treated as a simple accommodation of the precepts of Geometric Abstraction, I would simply say that beyond my admiration for the work of some of its best representatives, such as Auguste Herbin or Genevieve Claisse, to name a few, I rather want to place this movement in a form of genesis redirected after the fact of their work, certainly incontestably initiatory (being myself from the School of Fine Arts in Cambrai) , in order to put Geometry that has remained pure at the service of Applied Art.

Because it is a question here of leading the natural art expressed by the refined geometric form to its applied dimension as a contextualized work.

In this, each work conceals a message, a story, a secret, the latter establishing a direct link with the framework in which it is created or intended to be exhibited.

This precise, exclusive language summons up the simple form like a rune, of which the whole of the triptych or the diptych presents, in situ, a support suitable for creating meaningful assemblages.

Similarly, the unique writing, text of a few lines, which accompanies each of the works created resonates with the shapes and colors appearing therein, in a poetic synergy that is itself abstractive.

Each creation is thus a coherent whole allowing the abstraction of the vibratory elements accompanying the subject-reader towards a singular elsewhere of its own. Indefinitely.

Louis-Francois Clarot-de-Cambray.

April 10, 2023

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