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Jean-yves Guionet

Painter

Member of « maison des artistes » G548822 HE has been painting since childhood and regularly participates in artistic training courses. 1984 Artistic training course with : J.C.Athané member of the institut académique des Beaux Arts de Paris
A.Tiphaine diplômée des Beaux Arts de Paris
Member and elected in associations of visual artists. Trainer and facilitator of visual artists around the philosophy of "Sensualism" (contemporary extension of the pictorial practice, impressionist, expressionist and lyrical abstraction). For more than 20 years this group, "Sensualism", has defended painting as a medium of research as a major art and strives to understand the aesthetic experience that differentiates expressionist creation from the conceptual image. Jean-Yves Guionet is its founder. "Sensualism is a philosophy influenced by empiricism, sensualism is knowledge through the senses. It asserts that there are no innate ideas; sensations and knowledge are coextensive. All knowledge, all reflection, all acts of imagination are only memorized sensations. Jean-Yves Guionet's painting seizes us immediately because, neither figurative nor abstract, but exclusively oriented towards matter or spontaneity, it navigates between these choices, it uses them all, hides them, reveals them. Jean-Yves Guionet's approach, a colourist for sure, is essentially characterised by his commitment to bringing out emotion on canvas. His painting is a research on the sensitive and the material. He does not work on the illustration of an idea of something intelligible. It is the perception of a body that expresses itself, a body that finds the trace of its emotions, a body that dances, combining "the spontaneity of the child and the wisdom of the old man" (Delacroix) Workshop teacher, J.Y. Guionet has trained his students towards an active painting, that of the emotions, fighting against preconceived ideas and against those bad habits of the gaze and the gesture, by making them work on the emotional memory and the intelligence of the senses. "I work a lot with a model or on the motif to develop the emotional memory, which allows me to deform at will and improvise according to the rhythms and colours. I detach myself as much as possible from the drawing which locks up the imagination a little too much.