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