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 6th January to 3th March 2017

Opening the 5th February at 6:00pm

Christian Jaccard presents ephemeral paintings designed especially for the gallery of the academic palace of the University Paris 1 Panthéon-Sorbonne. His work refers as much to world phenomena and the fluctuation of time derivations as to our own ignitions.  For the artist one of the major issues is the representation of time. Initiated in the 1970s with the burning of objects on canvas, hides and anonymous paintings, the igneous path associates with the pictorial gesture the ancestral practice of ecobuage, also known as culture on slash. The slow burn alters the material and the original colour of various materials and supports, from which a network of new imprints emerges. These «automatic» drawings are all stigmata of time, constituting for the artist a memory trace, a significant landmark. Applied to the scale of a wall or building, “ephemeral paintings” celebrate cosmic energy.

In this contextual work, the omnipresence of ignigraphs reflects the movements of an economy of ignition that intersects, juxtaposes or superimposes itself in corrected data. It is comparable to that of globalization, which is daily stigmatized by stock market graphs plotting temporary, brutal or cyclical rises and falls.

The process of ignition takes hold of it. The outbreaks, their flux of expansion, their textures, their strata, their pigmentations overheating act by declining their fluctuating and metaphorical perspectives. They stigmatize the explosive volatility of eddies and the unpredictability of precipitation induced in the grandiose and chaotic universe of growth indices, statistical developments, operational results, resource factors, business cycle curves, performance gaps, trend indicators, value transfers, rates of return.

Speculative and virtual interfaces, dominating and flamboyant fluctuations resist, rush or collapse. Dissipated, the energy with its flame-retardant properties translates and irony on the evolution of the incessant stock market turpitudes. She spreads her graphs whose shadow penetrates the margins. Its undulating rhythms and peaks are those of frantic clues that burn and burn their own record. So many landscapes of legends where dream and reality express the untimely nuances of oscillations.

In the vehement ignition as in the imprint of bitumen, the Human sees the dawn of the mystery that he carries within himself. Dissipated, complementary and different energies are inherent conditions of thought. The mind manipulates them and moves in an unhindered universe. Their materials are in their respective properties, in the combinatorial covering and its function. The density of bifurcations within the labyrinth of particles, the latter never ceases to intersect, creating compulsive and chaotic factors.


Christian Jaccard, of Swiss origin, was born in 1939 in Fontenay sous Bois. He learned the Manuel du gabier and the campfires (1948). High school student he collects fossils, unfailing traces of the time (1954). Student, he trains in fine arts at the national school of Bourges (1956-1960). Jaccard is interested in industrial waste and traces by imprints: genesis of his first lithographic works. Chromist engraver in a printing press (1964-1975). He explores impregnation processes related to the manufacture of specific tools.  He shapes and obliterates successively Erased Canvases, Tied Canvases, Counterplated Canvases, Calcined Canvases. Artist of the combustion process: Anonymes calcinés, Trophées, Toiles brûlées (1970-1989) he developed the Brûlis and Pics de combustion in conjunction with the Supranodal Concept (proliferation of knotty textures) since 1990. His occasional interventions in industrial wastelands, chapels and other places are a new implementation of his pictorial transition and where, at each stop, the ephemeral picture and its implementation are accomplished in terms of exploration. Dedicated artist Christian Jaccard is now President of the ADAGP (Société des Auteurs dans les Arts Graphiques et Plastiques) where he defends the interests of artists and copyright. He is a member of the UFR Council of the Ecole des Arts de la Sorbonne.

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