Before revealing himself in cinema, David Lynch was a painter, and he always remained so, admiring Francis Bacon, fantasizing about abstraction. In 2007, the Cartier Foundation unveiled, between red curtains, its surrealist paintings. But if he has left his mark on several generations of visual artists, it is more as a director. Apart from that of Jean-Luc Godard, without doubt, his influence is without equivalent in the field of plastic creation, and affects the most diverse artists: in the crowd of Lynch's children crowds the painter Anne-Laure Sacriste, who composed each exhibition like an enigma, the photographer Gregory Crewdson, whose images make suburban daily life sink into a nightmare, or the cartoonist Riad Sattouf, who cries today « [s]we heroes, [s]we god, the greatest of the greatest ».
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-If a work were to summarize this indelible imprint, it would perhaps be this sign posted by the visual artist Philippe Parreno in the garden of the Villa Arson, in Nice, for the exhibition No Man’s Timein 1991. Painted by his accomplice Philippe Mayaux, it invited, against a backdrop of twin snow-capped peaks, to escape from reality. “ Welcome to Twin Peaks »it was written there: as if the legendary series by the American director suddenly opened the doors to other planets. Titled No More Realitythis work has since toured the world, signaling the desire of an entire generation of artists: enough of reality, they proclaimed; let's explore other territories, fiction, fantasies, in short, cinema.
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