Translation of essays published in Un ciel tout vert, exh. cat., Jérôme Poggi (Paris), 2019, pp. 65-67, pp. 75-83, pp. 89-90.
All these narratives overlap or succeed one another with the greatest command, while a myriad of either known or unknown profane signs share an uncanny, often grotesque dance with ectoplasmic forms, as if a medium had materialized the latter. Together, they draw visual, spiritual and sensitive journeys that could be called ecstasy-works, in the sense that they bring Paul Mignard out of himself.Alain Berland, “Terra incognitae”, in Paul Mignard – Un ciel tout vert, Jérôme Poggi (Paris), exh. cat., 2019, p. 90, excerpt.
Like Arthur Rimbaud, Paul Mignard is, without a doubt, a land-surveyor. […] It seems that painting – like music and poetry, which he also practices – isn’t an activity detached from him, but a sort of extension of his person that is almost organic: painting like a third eye, a fourth dimension, a fifth element, a sixth sense, a seventh heaven. Forms, figures, motifs: everything can be blown apart.Gaël Charbau, “Shock of ice against the stars ”, in Paul Mignard – Un ciel tout vert, Jérôme Poggi (Paris), exh. cat., 2019, p. 67, excerpt.
It depicts an occult universe, in which a horse guides its horseman. I like this twist on the notion of a journey: it allows us to look at things in movement. I’m particularly interested in the connection to the landscape. The horse in the book is like painting to me. I have to preserve it, take care of it. It is about an exchange, becoming one. Sometimes painting takes over, just like the animal!Paul Mignard in conversation with Marianne Derrien, “Before completion – Fragments of a conversation with Paul Mignard”, in Paul Mignard – Un ciel tout vert, Jérôme Poggi (Paris), exh. cat., 2019, pp. 79-83, excerpt.