I identify and make out several gestures from GL’s type of painting; several gestures which have their own movement whilst anchoring their composition harmoniously within the surrounding space.  Besides its musical overtones (which is not his primarily focus) it’s the painting’s unique space of relationship and of unity built within the exchange of brush strokes and the variety of tones which makes me stop to recognise this new dimension opened to this work.

The text by Deleuze, “Occuper sans compter: Boulez, Proust et le temps” sheds light upon the principle of unity and liaison particular to the type of figures that we come across in GL’s work: “the way in which the noises and sounds cut out the characters, the places and the names to which they are first of all linked, in order to form autonomous motives which do not cease changing through time, decreasing or increasing, adding or reducing, varying their speed and their slowness” and further that this “the autonomous life of the motif, as it passes through its varying speeds, crossing the bounds of free metamorphoses, entering into a continuing variation”.

The canvas is not coated and allows itself to absorb the liquidity of colour, which gives it the impression of colour truly in the canvas rather than on top.  Whilst still maintaining a sense of internal consistency, it is necessary to vary the colour with respect to the thickness of the mixture, which succeeds in building the perspective of the motives.  We come to find forms anchored in the work at different degrees which detach themselves to varying degrees.  Here there are several gestures, some allowing the colour to soak in and decide its own contours, others carrying on with or marking the stroke on the surface.  It is these several motifs and numerous motions within the painting, that one after the other establish a community of space, and finally its unity.

At first glance there is no figure.  With the exception of some rare identifiable clues (which we wrongly conceive as being mere accidents), the other motifs taken separately are rather signs or gestures of free painting.  Nothing seems to ascribe a figural function to the motions.  However the two or three clues perceived earlier have started to lengthen the centres of spatial distribution.  These are the starting points at which we begin to see the curious continuity between features which evoke and reinforce the figure.  Through the induction between the heterogeneous elements, a kind of figuration is produced : fast lines and slow lines, embedded curves, punctuated or wandering scratches, half opened floating triangles, wavelets, architectural drafts folding back the lines, the striates and petals escaping from the fingers, leaps by the angel from twigs to poppies…

The gestures and signs either focus or blur their outline at different heights.  Certain of these aspire to figures that they can find and hold, the others are on their way to folding back and leaving the arrival of the stroke alone.  The look consists of different heights and leads them into a game of correspondence and response.  Some easily identifiable clues support the fields of recognition and consolidate the framework of the space.  We circulate in a mixed universe by crossing the figures taking their own path and taken in different stages of their development: the coexistence of the embryonic state and of ruin, jumps from the distinct to the indistinct (or the contrary), lighting up the passage to the free-running light.

It is the deambulation of the gestures of painting where the spaces and the whiteness maintained by the raw canvas scatter the paths of circulation and order the structure of the painting.  We endlessly scan the map of construction where only some relics remain, occasionally crossing the path of a walker who’s on route or led astray to the corner of an indefinite land.  We wander in the marks of the representation, in the oscillation between its disappearance and its attempts to return.