The 20th century was able, most notably with Georges Bataille and Antonin Artaud, to highlight the portion of Excess dormant in Humankind, and which, furthermore and in a combined movement, reveals its relationship with both Evil and the Sacred.
At the dawn of the new millennium, Excess, more than ever, has become the keystone of a society now deemed to be hyper-modern, wherein not a single facet escapes from the logic of disproportion and abundance. The need for attention, narcissism, violence, over-consumption, destruction of the environment… It’s all part of a world eating away at itself, where capitalism controls every aspect and technocratic politics are helpless to offer a salutary escape route, that has now become, in Artaud’s words, a ‘poisonous edifice’.
Georges Bataille’s clairvoyance, especially in his article on ‘The psychological structure of fascism’ (1933), provided us with new ways to interpret how societies function, be they archaic, ancient or modern. Thus, his heritage, along with that of others, can help us think constructively today about the disaffection of impulses, the desire for rebellion, the relationship between capitalism and violence, the notion of freedom, of new models of development, etc.
Against the background of this context, I deal with such wide-ranging topics as sexuality, death, violence, oppression, sacrifice, and even madness, seeking to articulate not only the abject, but also the sublime. I believe that Painting, and Art in general, are at their origins, the expression of an Impossible that derives as much from vacuity as from surpassing limits.