To Georges Sécan, with
friendly admiration, Michel Tapié 1975
Sécan is one of the
greatest artists of this century and, through his art, he has lived the
depth of the aesthetics in its fabulous and touching becoming: thus,
since 1941, in a text written and published in India, in English, he
spoke of “subform” nearly ten years before that, aesthetically speaking,
I defined and testified the “signifiants de l’informel”, stating by that
term, the fabulous and polyvalent perspectives to be explored in the
indefinite propositions of the whole structures artistically significant
for an infinitely long era “autre”.
I will always remember
the shock felt, in its mere artistic-aesthetic enchantment, visiting the
UN building in New York, just then completed with a dozen of monumental
sculptures and paintings by the most famous artists of those days,
seeing, for the first time, a mural by Sécan, whom I didn’t yet know,
and whom I found again and met in Milan later, at the time of his great
retrospective exhibition at Palazzo Reale and where he gave me the great
joy of asking me for a text about his important and prestigious
exhibition in that seat where he succeeded Picasso and Boccioni.
Since then, Sécan has
happily continued his great artistic adventure of subform in grand
style and it is possible to the work of few, very outstanding creators
to ensure the marvellous artistic continuity so menaced by the worst
confusion of the common herd of consumers who have forgotten Picasso’s
saying “ Fashion is all that goes out of fashion”.
Far from those traps of
stupidity, Sécan advances in a masterly way overcoming the great and
sublime adventure for the “ connoisseurs”, raising their love to that
power of fascinating enchantment in the “ paintings” highly and totally
worthy of that definition.
Michel Tapié, 1975