« There is still more to add. At least twenty years ago now, I had gone off on big speeches, big ideas that I was by no means the only one upholding, on the possibility for a certain pictorial ideal, which would be a flag in that sense. And in fact, I've always held on to that idea, thinking that what would be interesting would be to make a flag, not a painting that would be like a flag. And I remember this, because it's true that in the very beginning, especially between Parmentier and me, we spoke a lot about it as of the painting's ultimate perfection. Obviously, at that time, we could refer to Barnett Newman and to other people like that. And I think that a great part of my work as a painter at the time tended toward trying to make a painting as close as possible to the neutrality, the dryness, the clarity of the flag. I think about it now as a theory, but it was an idea that wasn't very far from a certain kind of painting, and that I took up when I started to paint things outside, realizing again that it was more interesting, since one could make a painting that was a flag, and not try to make one that was like a flag. O.K., so to get on with it, today I'm very interested by the floating sheet " not to say flag ", with the idea of making, say, sculptures, and not monuments, even modern ones, because besides all the symbolism, there is its movement in the wind, its unfurling, and also of its death aspect, as soon as the wind stops. »

Excerpt from an interview on the flag-theme with Daniel Buren, by Georges Roque, in Artefactum, Anvers, November-december, 1984, no.6


resume of the artist


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