Real or imaginary portraits, so many mirrors of the soul
Landscapes of Quebec inspired by travels and expeditions
Variations on themes painted by old masters
Paintings of cows from the countryside where the artist lives
Born in 1949, self-taught artist-painter with a university degree in arts education, Frank Brisson was in turn and sometimes simultaneously business manager, artist, director of a cultural and historical center and professor of fine arts.
Deeply influenced at a young age by comics, he was first a landscape painter like Marc-Aurèle Fortin, whom he admires, then "lyrical abstraction painter" in the wake of Borduas, Riopelle, Pollock and company. Finally, he will recognize himself a lot in surrealism and expressionism, which he will happily integrate into a varied production always linked to these fertile roots. Man of the woods at heart but also a "ferryman" like Siddhartha, Brisson gratefully creates a work that is romantic, loving, humanistic, meditative and contemplative.
Photo Karine Larouche
Yes, Brisson's paintings are a romantic work in the sense that they trace the course of man in all its dimensions: suffering from being dispossessed, joyful attempt to return to the sources, to the benevolent and sometimes cacophonous source of the breast, revisited , translated into several languages: maternal and amorous, for it will have taken a trip to the dark land of the non-belly to welcome the hand of the woman and the heart of the father-fish. The works of Brisson: "Mirror less than thrill, both pause and caress, passage of a bow on a concert of foam" (P.Claudel)
Excerpts from: Christiane Asselin, From small spaces to large interiors, About the retrospective exhibition (1981-2004) by Frank Brisson at the Moulin seigneurial de Pointe-du-Lac, April 2004
Brisson's paintings offer us an escape from death, a search for the absolute and for beauty, in all things and despite them, precisely, because everything is not just fusion. The Fall of the Angel (2003) reminds us of this. Sad premonition. A break, a cry in the peaceful womb of the world. And Brisson's paintings, fluid and soft, parties and Bengal lights, poems on canvas, serene expectation of what is best in the warm belly of love, resume, from 2002, these blurs of the years 1988 to 2001, this barely restrained pain from the deep blues thrown on the canvas as one draws the curtain on the intolerable. Like Bachelard, we can really say that: "Intuition is the reading of fine realities" and that Brisson and his muse-character prove to be more intuitive. This is the case with this painting The father and the fish (2003) which, painted before the death of the father, was also painted before the son knew that this father was going to leave him.
All the formats indicated include a white margin varying between 5 and 10 cm more or less. Pigment inks on acid-free Verona museum pure cotton paper, signed works, limited editions, certificate of authenticity, delivery included in Canada