Muslin Jean-Paul

Jean-Paul Muslin, a rebuilt expression

When a visual artist becomes partially-sighted, he has just two options: to disappear or to keep trying, one way or another, to get back to where he was.

Jean-Paul Muslin did both, and after more than ten years of silence he has found a new creative process. New in terms of concept, but old in terms of substance, as that's the way his memory works. He's had to use short cuts - simple ways of reducing language and expression to the bare essentials. This language is purified, and concentrated on the one memorial perception.

A memory which works in every dimension - objective/subjective, temporal/timeless, controlled/uncontrolled.

His artistic journey, simultaneously academic and varied, proved to be the essential experience; the mouldable matter comprised of automatisms to relearn and recapture; visual and auditive memories; bodies, faces, movements, torsions, smiles and grimaces, images of death, revealed faces ceaselessly hidden, all this material at his disposal like an engine, like food from the memory.

He also remembered great artists like Gaston Chaissac, and his hands which liked to hide behind his back while drawing. Yes, these familiar, classic and unforgotten techniques that he had taught his students; the story of telling them, “Be careful, you never trust your possible ease, maybe not even your virtuosity, never remain on the surface of things, go and seek the important things in the blackness, in the night... "

What work today?

The work of Jean-Paul Muslin, even if it takes place by necessarily different transcription processes, before the problem of view, does not say anything else: he always and still visits and explores the body/bodies, tormented bodies and especially the face/faces.

Current drawings, quasi-calligraphies, very "physical", totally take part in this exploration, just as much as the masks in the past and the present.

Indeed, since the spring of 2013, the masks are back: they are smaller in size and are still based on the same techniques (see section "masks").

Masks

Especially these are primarily sculptures. Although their origin is to be found in the ancient traditions of mask, in particular those of theater, religious and primitive art. They are from today and from nowhere. Even if we can sometimes wear them, their purpose is not that. They are completely autonomous. They have their own life and serve no purpose, except to remind us that by appearance the hidden face will always be a face of multiple readings. Also they like to live among them, be extended into the space of the body, offer combinations through their image, puzzles, assumptions, conversing, occupying space, covering their tracks ... They always work. For them, it is only to occupy the only possible truly free space which separates the hidden face from the exposed face.

Les poupées

Dolls, "Tartar dolls" as named Jean-Paul Muslin, is a continuation of the "extended masks" but these dolls are no longer masks. With them, it leaves the body in what may come to inhabit physically. The "Tartar dolls" are installed on metal rods, set themselves on pedestals. The distance from the body is made, and the body becomes a spectator of his grimaces now frozen, impaled, decidedly visceral.

Biography of Jean-Paul Muslin.


Jean-Paul Muslin was born in Paris in 1948. After studying at the École Nationale Supérieure des Beaux Arts de Paris (1965-1971) and at l'UER de scénographie de la Faculté de Censier (1968-1971), for a long time his professional career embraced the visual arts and spectacular works.


The visual arts



  • Juin 2014, 1ère exposition depuis la reprise d'activité: 9ème foire d'art actuel- VO/ Eragny sur Oise-95



Drawing, sculpture, engraving, medal engraving, thirteen editions of the Monnaie de Paris portfolio (from 1978 to 2001), collective and personal exhibitions.



  • La Hune Brenner gallery, Paris 2001, two portfolios, engravings, personal exhibition. From 1995 to 2009, portfolios and engravings were on display at the gallery.




  • CRAC Selection, Champigny 1998, sculptures Sélection ERCA 93, Montreuil 1996, sculptures.




  • La Hune Brenner gallery, Paris 1995, portfolio, engravings, personal exhibition.




  • British Museum in London, FIDEM 1993. A direct carving presented by the Monnaie de Paris, “Carnival de Venise”, works prize winner in its category.



On several occasions between 1985 and 1995, the Monnaie de Paris presented works by Jean-Paul Muslin: Bucharest, Colorado Springs, Montreal,



  • UNESCO, Paris 1992, sculptures.




  • Hôtel de la Monnaie de Paris, 1991, drawings and engravings. Exhibition of the group around Raymond Corbin.




  • Brussels 1990, group exhibition, sculptures.




  • “Grands et jeunes d'aujourd'hui”, Stains 1988, sculpture.




  • Paris June 1987 - Espace Passion/La Villette: Multidisciplinary exhibition and event focusing on sculpture (JP.Muslin), clothing design (Michel Schreiber), photography/performance photogrammetry (Evelyne Coutas), writing (Pierrette Blutte-Muslin). Posters and communication by Crédit agricole d'Ile de France.




  • Galerie Ona, Paris 1986, Espace Delpha group exhibition, Paris 1986.




  • Galerie Tendances grises, Paris 1985 - sculptures, drawings, Espace Delpha personal exhibition, Paris 1985.



Theatre/television/teaching between 1972 and 1997.



  • Théâtre de l'Œuvre, Karsenty tours, Théâtre National de Chaillot (under the management of Jerome Savary), in particular. General authority, decorations, scenography.




  • Started in 1972/1973 with Yves Bonnat and Jacques Boson (cultural barge project) as assistant scenographer.




  • Antenna 2, TF1, SFP - Decorations, technical advice.




  • Founded in 1975, with Roger Turban, adviser to the Ministère de la Culture, the Centre de Formation des Techniciens du Spectacle. Teaching there (decorations/costumes) until 1995.



Teach perspective, analytical drawing in PREPA schools.

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