Charles Bézie

Paris, France

I only speak of my painting since 1974. I have always painted and I don’t completely disavow what I made before this time, but I consider them early works.

Since 1974, I have used horizontal, vertical and the two diagonal lines. In 1995 I abandoned oblique lines; since that date my work has consisted of periods of research on the rhythms obtained by starting from numbers. The periods are “Gradations” from 1998-2001 and “Cadences” from 1999-2003.

The year 2003 saw the beginning of the “Fibonacci Sequence”  works named for the thirteenth century Italian mathematician and his series of numbers that is simply generated as each successive number is derived from the sum of the 2 preceding numbers (when a Fibonacci number is divided by its immediate predecessor, the quotient approximates the famous golden ratio, 1.618).

These paintings are structured by a network of horizontal lines. The background work is very important; it consists of vertical bands of paint applied with a spackle knife that progressively hide the texture of the canvas. Then I use a smooth paint roller, and it is the light—natural or artificial—that reveals the nuances among the different bands. It’s what I call the “animation of the background.”

In 2008 starting once again from the Fibonacci sequence, my research brought me to a new series that I call “Fiborythm,” begun in 2008 and ongoing. In this instance, I wanted the forms to separate themselves freely on the background space, which I wanted to be minimal.

My current project is to continue to work with numbers as a point of departure for as long as this approach brings meaning to my pictorial process.


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