What may be seen is not necessarily what has been done

Emmanuel Monzon is a painter. However, what he exhibits under the form of a large painting format is an illusion, what he provides to see and declares being an original painting is no more than a reproduction. (The drawings, l’ekta or the digital file is kept by the artist)It is like an industrial project where the production stops at the first product sample. The enlargement process utilised is important. It magnifies an applied graphic activity however the plastic effect disturbs since it testifies to an industrial use of the image which puts it remotely and introduces the effect of a critical seduction.

 Hence, what is given to see, at the same time, is a gesture of designation and pictorial re-appropriation of several significant signs which shape our visual culture. And because the most ordinary commercial support is voluntarily magnified by Monzon, our reading mobilises disjoined registers of appreciation which shape an aesthetic paradoxically coherent and problematic reading.

Written by Christophe Le François – Art Critique – 2005