In three parts: Each of Jean-Francois Chenin’s works tells a different story

KARACHI:

The latest works on display at The Second Floor's Faraar Gallery comprise triptychs, a set of works displayed in three different panels, with each of them telling a different story to each viewer.

These are the works of Alliance Francaise Karachi director Jean-Francois Chenin, who presented a variety of digital artworks at the opening of his exhibition, 'Monument Valley', on Wednesday. He made collages with different artworks of various pop artists and then presented them as triptychs, using numeric prints on canvases.

What impressed most of the viewers was the fact that each triptych told a story and the fine use of colour. Curator Raania Durrani said the stories work out really well. "They have been printed on canvases instead of paper, which gives them more quality and depth."

Looking at 'Le début du voyage (The journey starts)', French consul for communication and public affairs Frederec Devos remarked how the red and black colours remind him of the 1950s of United States as he had seen in movies. The picture, with the Rolls Royce and the glossy red lips, would evoke the all-too familiar images of the popular American show 'Mad Men'.

Talat Dehlavi, sister-in-law of famous film director and producer Jamil Dehlavi, felt that the drawings were like a comic strip but taken to a higher level. "They are not cartoons that we see in newspapers," she said while speaking to The Express Tribune. "They are animations."

She said that 'Road 30 Zone' is such a strong work that it leaves the viewer to reflect if it is an accident or something else.

Claire a la source

Artist Henri Souffay also likes this ambiguous quality of Chenin's works. Talking about the same painting, he said that it is not clear if the woman standing behind the curtain is bidding someone goodbye or welcoming someone into the room.

He spoke in detail about a triptych titled 'Le jardin est en feu' (The garden is on fire). This was the one that had Karachi's map in its background. In the third frame of the sequence, there was a picture of a beautiful woman wiping off a tear. It appeared as if the triptych commented on how women are suppressed in this city.

"Maybe she is lost in the city," said Souffay. "Maybe she lost someone dear. The construction is great and open to a variety of interpretation."

Goethe Institut director Manuel Negwer felt that Chenin did a great job by managing to make art of his experiences in a successful manner. "There is a variety of expression. He has delivered his experiences with cinema and literature in an art form."

Among the visitors, Qatar Airways country manager Sherif Kamel was very appreciative of how the pictures are unique. "Each one is different. It says something different."

One of the most striking works was 'Le désordre amoureux' (The lover's confusion). Hands were reaching out for each other but couldn't meet. And in the third frame, a woman with an upset face was sitting in a chair and a man's silhouette was in the background. These images somehow appear to be making an effort to describe a harsh reality of life: how we cannot always be there for our lovers. "The composition is beautiful," said French Vice-Consul Jean Albertini about this artwork.

Le jardin est en feu

Pakistan German Business Forum chief executive officer Ines Chabbi had similar thoughts. "All the works are absolutely beautiful with a nice combination of colours and composition."

Another interesting work was 'La chute d'Icare' (The fall of Icarus). It just reawakens the images that came to your mind when you read about the Greek god Icarus who brought about his own fall with his recklessness to his father's advice. It seems to be sending out a message: pay heed when you are warned of something.

The creator of these triptychs was quite shy to talk about his works. He did not consider himself an artist, and said that he only assembled different works to narrate a story.

An intriguing quality of the works was how the triptychs were full of transitions. The frames led the viewer from one scene to another like a story. For instance, the triptych titled 'Claire a la source' was ripe with abstraction, yet appeared to narrate the story of one's life. In the middle of all three frames was the same small picture of a woman seated in a chair. But the colours increase as the viewer progresses from one frame to another. The colours seem to denote activity and responsibilities in life, which increase as we move on.

"I used images as my words to express what I can't say," said Chenin. "I cannot explain what my works are trying to say, because I would like each different eye to view them as they like."

The Frenchman, who also happens to be a writer, politely declined to comment on his triptychs by saying that 'my works speak for themselves'.

Published in The Express Tribune, September 13^th, 2014.