I heard that during one of his stays in the Marquesas Islands, Paul Gauguin had the idea of painting directly on the shell of a young live turtle lost on a beach. I like to think that, thanks to this species’ long life span, one of the painter’s works, far from the avarice of speculators, still continues to swim back and forth today in the ocean depths, in its own little mobile museum.

What anecdote could be more appropriate to illustrate our desire to offer the public a singular vision of art and particularly of painting?

Our idea is not to do this on the ocean waves of Polynesia but rather in the floods of urban traffic, right in the middle of a crossroads or a public place, setting up our vast easel there beforehand. Our live music and the voices of our narrator and the painters themselves will replace the sound of the waves and the wailing of the wind in coconut trees, which must have been the background noise for Gauguin’s activity. What we’re about is images, inspired by an initial fascination for shadows, with their fantastic evocative power; we’re also about transparency, simultaneous presence and absence (…).

This is how we sketch the fringes of an unprecedented form of theatre, with abundant use of shadows, brush strokes or cameras – theatre where illusions are created live in full view, somewhere between do-it-yourself and fine-tuned technology, where the players are the plastic arts, music and texts, entwined together.

We continue with our exploration, hoping to pierce the mystery of mankind’s irresistible fascination with moving images.
Luc Amoros