Intimate conviction and quasi evidence: painting is seen, experienced. So to speak of what is seen, to speak of painting is a curious exercise. An impossible path. A priori.
Beyond the figurative and the abstract, there are two types of works: those that speak to you and those that inspire you. That sucks you in. Guin'Amant's painting is categorically in the second disposition. It invites you to participate, to get involved, to project. To enter into it, as through the mirror. To get lost in it, to find yourself in it. I like to get people to react to these lively, animated, muscular canvases, one might say, and yet they are made of softness, an invitation to daydreaming, to the imaginary. I like this back and forth between the canvas and the viewer, the way each one seizes it, gets wet with it, soaks it up. Far from any intentional discourse or any allegory of existence. Just vibrate, let yourself be carried away.
Yet there is something both coherent and contradictory in these works, between the invitation to travel and the incitement to rest. Between the violence of gestures and the softness of forms. Between love and death. Guin'Amant's work and talent are based on this lightness and depth. And takes us there.>
Sylvain P. Paris