You probably don't know his name. But once you've discovered his work, you'll fall in love with these abstractions where the signs and traces are anything but innocent. We loved it. A splendid encounter to delight our readers.<\/p>\n
G\u00e9rard Gamand<\/b><\/p>\n
When Guiseppina, a beautiful young brunette from Calabria with fiery eyes and a dazzling smile, met Jean-Yves LAUTR\u00e9DOU, she was barely 18 years old. He, an adventurer, mountaineer, \u00abrabochon\u00bb (very bad temper, in Savoyard, Ed.), a loner, burning with a feverish passion for painting, skiing and legendary peaks, allowed himself to be captivated. It was love at first sight! The two have now been partners for over twenty years. They live in harmony. She watches over her man, as she says when talking about him. She organises an acceptable daily routine for him. He, immersed to the point of madness in the excitement of painting, does not notice the passing of hours, days, nights, or announcements.<\/p>\n
Magnificent Guiseppina, courageous, stubborn, headstrong, jealous, who would fit right into a 1950s Italian film. She would sing, hang her laundry out to dry at the window, call out to her sister from one window to another\u2014in short, she would embody the effervescence of a simple, sensual, and indulgent life. The one we love passionately, as you know today, our research led us to Annecy. We had just discovered a painter, completely unknown, who delighted us. He is exactly what we expect from painting: emotion, humanity, pleasure, authenticity and talent. We are going to help Lautr\u00e9dou emerge into the public eye, because we cannot bear to witness such a waste. Frankly, how can we accept that these artists are in such dire straits? Tossed between arrogant and blind pseudo-galleries, which want to charge the painter to agree to exhibit him! Art magazines that only open their columns in exchange for hard cash for pseudo-editorials of complacency, and even then on condition that you provide your own text and images! (Yes, yes, it seems that this exists! Editor's note).<\/p>\n
Con artists of all stripes who promise everything and deliver nothing! How can one resist what quickly becomes a financial nightmare? How can one continue to paint against all odds? There is only one answer: you need a Guiseppina by your side! Alas, even that is not enough. But let's start by discovering our man in his lair. A feverish and exclusive passion.<\/p>\n
\u00abI really like Buddhist philosophy. I feel that you can build your life on values and principles... without bothering others,\u00bb confides this solitary man. (During this wonderful encounter, which will last an entire intense day, he will often return to this idea of not \u00abbothering\u00bb others. He stubbornly moves forward in one direction: the path of painting. He is so passionate about it that sometimes he doesn't know when to stop working on a canvas. So he destroys it and starts again. Every day, he goes down to his \u00abcellar\u00bb, his hideaway, to immerse himself in his effervescent work. \u00abThere is never any anxiety when I go down the stairs. It's just pleasure. An incredible joy when faced with the canvas. I let my arm go, it moves on its own, it invents, it moves. There is a kind of second character inside me who paints. He escapes me and brings to the surface an unconscious that I don't know. It's extremely curious and, to be honest, completely schizophrenic!\u00bb\u00a0\u00a0When Jean-Yves speaks, when he feels confident, nothing can stop him. A flood that jumps over all the barriers. His passion brings out the words with a youthful impetuosity. Ideas jostle for position, sometimes even getting a little lost along the way.\u00a0\u00a0I recently discovered the concept of the \u00abeidetic image\u00ab, this incredibly clear imaginary representation. It's when, for example, you look at a cloud and clearly see a face or a horse, etc. This corresponds exactly to my painting. My hallucinatory images are always terrible. There are only skulls, suffering, grimacing faces. They are what drive my pictorial impulses... Fortunately, I am the only one who sees this in my painting. I see while painting, but I paint blindly!\u00bb Why not choose the path of figurative Expressionism to try to represent this unconscious world, as artists such as Arickx, Rustln and others do? Jean-Yves's response is immediate: \u00bbPain is everywhere on earth. I don't believe that the painter's role is to rub salt in the wound. Painting must remain that little square of happiness, of discovery, of invitation to travel. I have no desire to upset people...\u00ab (well, well, well, editor's note).<\/p>\n
There is a curious mixture in LAUTR\u00e9DOU of love for others and hatred for mankind. Of everyday optimism and dull metaphysical angst. He switches from one to the other almost instantly. \u00abThe canvas we create becomes a shock or a revelation for anyone who does not wear the blinders of art history.\u00bb A willing utopian, an unrepentant dreamer, non-violent and a touch libertarian, he wanders the pictorial paths with his shaven Buddhist monk's head and his thin frame. He is talkative. Perhaps too much so. He goes off in all directions, at the risk of confusing the audience. \u00abThat's my problem. I love everything. I'm so greedy that I can't help adding one more ingredient. Often at the risk of ruining my canvas. One more drop of paint and it's good for the bin. Sometimes I don't know when to stop.\u00bb.<\/p>\n
Yet we have seen some admirable paintings. These include, among others, those from his \u00abTraits d'union\u00bb series. We love these traces that seem to come from far away. From the depths of humanity, in a way. The workmanship is absolutely admirable. It is beautiful painting. But what is the point if no one knows about it? \u00abFor a long time, I thought it was very vain to want to show one's work. That is no longer the case. The painter wrote a few words that we find very apt. \u00abI am a servant of the imagination, the canvas being the chalice offered to the public, it can contain good wine or excellent poison. By painting from ourselves and our own feelings, the canvas we create becomes a shock or a revelation for anyone who does not wear the blinders of art history.\u00bb Meanwhile, Guiseppina has prepared a superb chilli con carne for us, which we will wash down with a generous Savoyard red wine. Life is beautiful. Our fascinating hosts. The painting around us is silent and yet so eloquent. We wish these moments could last forever. When you see the paintings we have chosen to reproduce in the magazine, don't you think this painter is magnificent? The art critic Edel Poire, who knows LAUTR\u00e9DOU well, wrote: \u00abLAUTR\u00e9DOU has a poetic view of the world. He translates it into discoveries overflowing with mocking tenderness, or, conversely, into strong lines, like those of a deep-sea draughtsman. Going beyond the image, he achieves clarity and fluidity, as well as immersion in fiery abstractions. Does he have \u00ababsolute spontaneity?\u00bb as we speak of the ear in music. Who knows? Well said, no, when you consider that this painter is currently struggling in the depths of anonymity! Strange times.<\/p>\n\n
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