Composing a canvas is not unlike the way one composes one’s life; a journey along paths, a decision at each crossroads and the experience of meetings of chance that orchestrate the course of one’s life.
The choice of color, its application and juxtaposition, allows for an openness, a light which comes from the depths of the subconscious.
I deeply love painting. The true painting of Rembrandt, Turner, Van Gogh, Monet. The supreme universal language, the true emotional message, defying time and space. And also, contemporary painting in which we can identify ourselves thanks to Soulages, de Kooning, Pollock, Rothko, Giacometti, Frankenthaler and Kline.
I deeply love riding the invisible line, so dangerous, where the painter finds that fleeting moment of equilibrium to work his canvas.
It is a constant fight between the canvas and the artist. A misplaced line, an inadequate color, and the canvas is lost. If, by chance, the artist takes advantage, the result becomes catastrophic.
But when the communication is total, when the union is complete, the painting becomes emotionally charged. Pleasure and happiness, so ephemeral.
"....[Arnaud] creates elegantly solemn oil paintings of a darker, heavier experience. The surfaces of these paintings seem thick with paint, like tweed tapestries of labor-intensive strokes. They create a uniform field which holds the painting’s surface in complete equality at every point. Behind this plane, a shallow pictorial space of great compression develops, and this entire space is one of perpetual nervous tension, pushing and pulling in a tight arena. Fundamentally monochromatic, the paintings are in neutral hues or in brooding reds, blues, ambers. They are strong, serious, resolved presences. Arnaud is self-taught, and his mentors include Rembrandt, Van Gogh, Giocometti, deKooning, Pollock. His interest is to capture the feeling of alienation and
isolation, and specifically to perpetuate the memory of Auschwitz. The act of creating art and the phenomenal existence of the art object, glowing, breathing in perpetuity, gives hope in the face of such crime. Hagé’s paintings very successfully convey the act of bracing against pain, of enduring it with dignity, of covering the most extreme difficulty by means of aesthetic wealth."
– Barbara Braathen, curator, October 2005
611 Broadway - Studio #907H 10012 New York USA