{"id":1182,"date":"2026-11-02T11:13:56","date_gmt":"2026-11-02T10:13:56","guid":{"rendered":"https:\/\/williamchevillon.fr\/?p=1182"},"modified":"2026-11-02T11:37:17","modified_gmt":"2026-11-02T10:37:17","slug":"anthropiques-de-yann-lacroix","status":"publish","type":"post","link":"https:\/\/williamchevillon.fr\/index.php\/2026\/11\/02\/anthropiques-de-yann-lacroix\/","title":{"rendered":"Anthropiques de Yann Lacroix"},"content":{"rendered":"\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">Texte accompagnant l&rsquo;exposition<em> Anthropiques<\/em> de Yann Lacroix, du 7 novembre au 19 d\u00e9cembre 2026 \u00e0 la galerie Anne-Sarah B\u00e9nichou (Paris 03). <a href=\"https:\/\/annesarahbenichou.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">annesarahbenichou.com<\/a><\/p>\n<\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Celle ou celui qui regarde doit se d\u00e9pouiller avant de franchir le seuil. Celle ou celui qui regarde se place dans une maison vide\u00a0; en apparence. Les sons, les parfums, la chaleur, seul l\u2019esprit les conna\u00eet ou les imagine.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">On \u00e9volue dans les toiles de Yann Lacroix comme dans <em>L\u2019Invention de Morel<\/em> d\u2019Adolfo Bioy Casares. Le lieu nous semble d\u00e9sert, hostile peut-\u00eatre \u00e9galement, mais il est un refuge autant qu\u2019un espace de possibilit\u00e9s. La vie s\u2019y montre furtive, et pourtant, elle est bel et bien pr\u00e9sente, tout \u00e0 fait tangible pour \u00eatre aper\u00e7ue, mais insuffisamment pour \u00eatre pleinement saisissable. \u00c0 mesure que les personnages apparaissent, le h\u00e9ros b\u00e2tit sa propre histoire, compose une carte mentale faite d\u2019\u00e9vocations puis\u00e9es des limbes et du r\u00e9el que lui offre l\u2019attention. L\u2019\u00eele, qu\u2019on croyait inhabit\u00e9e, devient alors le terreau d\u2019un r\u00eave perp\u00e9tuel tapiss\u00e9 d\u2019\u00e9motions, de sentiments, voire de d\u00e9sirs.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cette analogie nous procure le sens de l\u2019invitation donn\u00e9e par Yann Lacroix. En premier, il y a le lieu, sauvage, abandonn\u00e9 peut-\u00eatre et tout \u00e0 fait luxuriant. Puis, arrivent les reflets, les strates, les indices que l\u2019on d\u00e9c\u00e8le. Enfin, les souvenirs dispers\u00e9s comparables \u00e0 des scories qui, r\u00e9unies, construisent une narration intime. Les trois faces d\u2019une m\u00eame peinture sont en cons\u00e9quence livr\u00e9es \u00e0 qui observe depuis un quatri\u00e8me mur qui, comme au th\u00e9\u00e2tre, est une fronti\u00e8re invisible o\u00f9 le risque est permanent. Le risque pris par Yann Lacroix, c\u2019est celui d\u2019une mise \u00e0 nu. Chaque toile est ainsi un palimpseste o\u00f9 une couche en recouvre une autre sans jamais l\u2019effacer. Les coups de crayon et empreintes r\u00e9v\u00e9l\u00e9es jouent le r\u00f4le de traces arch\u00e9ologiques, mais ce sont aussi des pens\u00e9es si pr\u00e9sentes qu\u2019elles finissent par impr\u00e9gner la surface picturale. Le glacis agit pareil \u00e0 un voile existentiel, divulguant la profondeur de l&rsquo;\u0153uvre et de ce que chacun y d\u00e9pose.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Parlant de l\u2019exp\u00e9rience de regarder la peinture, Maurice Merleau-Ponty \u00e9voque un miroir, \u00ab&nbsp;l\u2019instrument d\u2019une universelle magie qui change les choses en spectacles, et les spectacles en choses&nbsp;\u00bb (<em>L&rsquo;\u0152il et l&rsquo;Esprit<\/em>, 1960). C\u2019est ce que convoque Yann Lacroix dans une po\u00e9tique o\u00f9 la d\u00e9composition d\u2019un paysage op\u00e8re telle une suite de murmures qui se r\u00e9pondent et s\u2019opposent aussi. Le n\u0153ud cr\u00e9atif est p\u00e9tri de voyages, d\u2019horizons botaniques, de palais disparus, d\u2019empires d\u00e9chus. Les r\u00e9miniscences d\u2019architecture et les d\u00e9cors fragment\u00e9s y sont les marques du pass\u00e9 dans ce qu\u2019il poss\u00e8de de mat\u00e9rialit\u00e9 et d\u2019effacement, de prestige m\u00eal\u00e9 de violence. Derri\u00e8re les brumes et les bruissements, la peinture dispose de sa propre m\u00e9moire et se fait le reflet du monde, d\u00e8s lors que l\u2019on consent \u00e0 le lorgner \u00e0 travers cette focale.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Yann Lacroix offre une \u0153uvre en ligne de cr\u00eate, un cheminement o\u00f9 le r\u00e9el n\u2019est peut-\u00eatre pas ce que l\u2019on per\u00e7oit de prime abord, o\u00f9 ce qui semble acquis au regard finit par se transformer. Nous voil\u00e0 donc, contemplant un jardin, ou peut-\u00eatre plut\u00f4t sa r\u00e9flexion dans une baie vitr\u00e9e. C\u2019est une exp\u00e9rience du dedans et du dehors \u00e0 laquelle nous sommes convi\u00e9s, de ce comment le corps, absent de la toile, se projette dans l\u2019un ou l\u2019autre espace. Une dualit\u00e9 est pos\u00e9e entre l\u2019int\u00e9rieur feutr\u00e9 et le couvert v\u00e9g\u00e9tal. La construction peut d\u00e9noter dans le paysage, comme une substance invasive pos\u00e9e sans crier gare. Le jardin lui-m\u00eame n\u2019est-il pas mati\u00e8re \u00e0 oubli par-dessus les terres conquises, nul ne le contredit vraiment. La v\u00e9rit\u00e9 n\u2019est jamais manifeste.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Rien n\u2019est gratuit dans la peinture de Yann Lacroix. Le moindre geste traduit une charge, une r\u00e9miniscence en filigrane. Un contraste s\u2019\u00e9tablit entre une palette aux teintes parfois d\u00e9lav\u00e9es et ce que l\u2019esprit assemble de r\u00eaves, de fantasmes et de stigmates. On regarde l\u2019\u0153uvre sans pour autant la poss\u00e9der, le d\u00e9cor ne nous appartient pas tout \u00e0 fait. Nous partageons notre vision avec l\u2019artiste, mais aussi avec celles et ceux que l\u2019on ne voit pas et qui, pourtant, peuplent l\u2019espace de la toile de mani\u00e8re assourdissante. Aucun terrain n\u2019est gagn\u00e9, aucune certitude n\u2019est atteinte. L\u2019imagination est plac\u00e9e dans un entre-deux o\u00f9 le repos n\u2019est jamais garanti, o\u00f9 le pr\u00e9sent et le pass\u00e9 se chevauchent et se confondent jusqu\u2019\u00e0 \u00e9treindre nos influx les plus profonds. Les s\u00e9jours desquels le peintre construit son r\u00e9cit sont une ouverture vers un voyage o\u00f9 le territoire est habit\u00e9 de toutes les fa\u00e7ons permises par l\u2019intelligence.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Les ombres, les formes vaporeuses, les d\u00e9tails sur les petits formats&#8230; sont les signes laiss\u00e9s par le temps, les esprits des lieux et nos propres fant\u00f4mes. Ce sont les cris d\u2019amour et de solitude que Marguerite Duras visualisait dans les mains n\u00e9gatives trac\u00e9es sur les parois des grottes magdal\u00e9niennes, la marque des absences que rien ne recouvre d\u00e9finitivement. Chaque subtilit\u00e9 est un appel traversant la dur\u00e9e, un fracas attestant d\u2019un monde plus immense encore que ce que per\u00e7oivent les yeux. L\u2019artiste se fait le m\u00e9morialiste de l\u2019invisible. Dessin\u00e9es et peintes, les couches transparentes sont ce qui subsiste du ressac de l\u2019histoire et des ans.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">William Chevillon, le 21 octobre 2026<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"wp-block-paragraph\">Image : Yann Lacroix, <em>Afternoon<\/em>, 2026, huile sur toile, 145 x 180 cm \u00a9Romain Darnaud courtesy de l&rsquo;artiste et de la galerie Anne-Sarah B\u00e9nichou<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Site de l&rsquo;artiste : <a href=\"https:\/\/www.yannlacroix.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">www.yannlacroix.com<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Texte accompagnant l&rsquo;exposition Anthropiques de Yann Lacroix, du 7 novembre au 19 d\u00e9cembre 2026 \u00e0 la galerie Anne-Sarah B\u00e9nichou (Paris 03). annesarahbenichou.com Celle ou celui qui regarde doit se d\u00e9pouiller avant de franchir le seuil. Celle ou celui qui regarde se place dans une maison vide\u00a0; en apparence. Les sons, les parfums, la chaleur, seul [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":1191,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[104,103],"class_list":["post-1182","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-propos-culturels","tag-peinture-contemporaine","tag-yann-lacroix"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Anthropiques de Yann Lacroix - William Chevillon<\/title>\n<meta name=\"description\" content=\"Propos culturels\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/williamchevillon.fr\/index.php\/2026\/11\/02\/anthropiques-de-yann-lacroix\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" 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