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His Art
Tin and Lead of which he makes clever use, are maintained in fusion by the heat of creation until lumps grow blisters.
One could think that he had simply let a drop of water fall on effervescent matter to contract it without extinguishing it. Paintings of the artist could be grouped into three major sections: Figurative paintings, Abstract paintings (macro- and microcosmic) and Pop paintings. Each of these sections represents an era in the evolution of Jantzky's Art.
Figurative paintings:
Janetzky adds to his previous panoply a series of intermediate or medium sized formats relating to the 'pop' esthetic: immaculate backgrounds on which are fastened shreds of lace; petrified blue jeans, also white, as wall as ball point pens arranged in a fan, or a mingle of letters and figures ...
Abstract paintings (macro- and microcosmic):
To adorn his canvases, to clothe them in light, Janetzky, as does an alchemist and sorceror, has chosen to steal all the silver from the stars. With his powders, made from treated metals, he obtains some surprising effects. His color scheme is very serious, very refined, very valuable: aluminium, sepia, orange (cadmium) and cobalt blue... 'I chose orange', he says, 'because I wanted this color to become beautiful, to move away from vulgarity. You can't say anything in a vulgar manner. You must be an anarchist, brutal, revolutionnary. But vulgarity must be banished, because it's a negation of integration.'
Conceptual paintings:
His so-called "pop" period, in the late seventies, with jeans and laces, unusual and ironic collages, pens and messages ('La prière plus que la guerre'), required the amateur to be more open minded and that is precisely what amused Janetzky. He has recently done the same with the more systematical expressionism of ancient zodiacal signs, that were described by Viola Drath, art critic, as 'teasing |
