Spirit of the work

Agosti’s work draws its formal inspiration from nature - gardens, parks, clouds, lakes, rivers – luxuriant, generous nature with its dazzling colors. They nonetheless deal with metaphorical gardens, transfigured by the vision of an artist fascinated by the complexity of the universe.

The elements of the landscape he chooses to depict are organized into a network of fragments, reproduced at several scales of size and according to a variety of viewpoints, which mingle in a visual whole to provide a relative representation of space. His vision is labyrinthine, random and may appear unsettling to those who are accvustomed to the Euclidian view of the world.
This variation of scale applies to space but also to time, which mingles the present with references to the past, to the symbolic realm and to mythology... and to the spiritual quest that underlies all the artist’s undertakings.
Fascinated by the study of symbols, Agosti has managed to use their power to provide structure to the body of his work. The Tree is the most important figure, although alchemical forms are also used and underlie the choice of colors and the luminous and poetic metamorphoses of his sequential images.

« The figure of the Tree is the central theme of my work, both in its structure and in its details » says Jean-Paul Agosti.

 

He has in mind the sacred Tree which has been driving its roots for centuries into the collective unconscious, with its potentially infinite arborescences, which symbolize the quality of his reflection and the complexity of his work. The Tree presides over the creation of each of Agosti’s works, from conception to completion. “I’ve discarded the idea of producing series”, he adds. “By constant referrenceto the structure of the tree, I create families of images. On the basis of a matrix, the paintings unfold – each with its own format, support and techniques - without replicating themselves into a series, so that each work has its own individuality”.

The initial matrix is usually provided by a first watercolor and by photographs taken in nature. Together they describe the interior of a sphere as seen above a mirror of water and they blend together what is mirrored and what lies beneath the mirror. This first stage is a microcosm, a globalization of the image and of the landscape. From this first matricial image he next draws other images which in turn generate others still – watercolors at first, then mock-ups and finally acrylic or oil on canvas... – capable of exploiting ever more complex and monumental variations of scale. It is in this relationship between a variety of scales, between the infinitely small and the infinitely large. This tension between the « global » and the « local » nurtures Agosti’s art.


 

 

JARDIN-D-ISIS

              Jardin d'Isis 1997  - aquarelle  152 x 103 cm
                  (partie gauche d'un triptyque)