Art Expo valcin2

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About Me

Valcin in his studio



More About Me
Around 1966-67, my uncle introduced my works to the art galleries, and by 1969 I went to study in New York. I spent two years at the Brooklyn Museum of Art School. It was two intense-year of apprenticeship and I learned a lot during that time. Then I returned to my country in 1971 and I actively prepared my first exhibition. In January 1972, I organized in the Occide Jeanty Kiosk an outdoor exhibition in concert with some colleagues well known in the artistic milieu. Later on, I decided to abandon my ancient technique. I decided to burn about fifteen of my paintings. The smoke that rose carried with it not only my ancient painting, but also my ancient artistic. Then a new artist was born, so I decided to take on a new name "Valcin II". This day was the official birth of my new painting (style). I left behind my period of investigation; my time of trial and error; my phase of experimentation, to go on to a more mature, a more adult, and a more real production of the painting that I always wanted to create, a socio-expressionist painting. This word defines exactly the level in which I wanted to elevate my artistic constructions. Of course, my painting is compromised, but it is a sublimated compromise in its expression, which used the sophisticated forms.

The first exhibition under my new name took place at Gallery Mehu, Petion-Ville in 1975. This exhibition was the most important one in my career because that was the first time the public would be introduced to my new orientation. Vibration de la CroixIt created a general astonishment in the Artistic milieu. Some of the critics said that they have never seen such painting before. No matter how many awards and/ or compliments I have received throughout my career, I can never forget the first "bravo", the first praise, the first compliments and greetings from colleagues and critics who welcomed me into the world of Fine Arts. In 1977, I organize a One Man Show at the French Institute under the title of Picto-Epique. It was for me the moment to affirm in a decisive manner my artistic personality. After the opening night, Roger Gaillard, in an article in the "Nouveau Monde", spoke of the "scream of Valcin II" this word perfectly describes my painting, which I would like to register as an incision made in the silence that hides the unhappiness of the disinherited. Sometime afterward, the Brooklyn Museum welcomed my paintings. After my return from New York, Pierre Monosier, the curator of the Museum of Haitian Art, organized in December 1978 an exhibition with two of my colleagues and friends, Jean René Jérome and Simil, and I. After the exhibition at the Museum of Haitian Art, I participated in another one in Santo Domingo with my father, Pierre Joseph Valcin and my uncle Gerard Valcin as well as other artists.

In 1980, the Socio-political situation of the country created a vast emigration of the peasants, handy man, and some of the middle class to leave the country in search of a better life elsewhere. It is this "search for life" that is found in my production of that period. We shall remember "Boat People" in 1979 and "Zafra" in 1980 that showed the horrors of the sea and of the Dominican sugar cane fields, "Bateys". "Cris des Bidonvilles" in 1977 and "Bal la Fini" in 1981 are two main pieces that point out the determination of the people to fight Le Dompteurtyranny, poverty, and sufferings. "Invocation a Dessalines" and "Carnaval des Damnes" in 1980, indicate the will of the exploited to fight against those who want to "zombify" them. "Brin d’espoir", in 1985, shows the end of dictatorship. "Lan Lombray Inosans", in 1985, signals the rebirth of life. "L’attente de la Delivrance", in 1975 emphasizes the rising consciousness of the Haitian people and their faith in the final victory against oppression. "La Delivrance", in 1985, enunciates the necessity of a c-section (cesarean section) when natural methods and time are not enough for deliverance. These same themes are taken into consideration for the exhibition entitled "La Democratie en Marche".

Just by looking at my paintings, one can perceive an intense dialogue between my lines, my colors, my traces, and the person looking at them. In my opinion, my work constitutes a true parade that reflects the emotions of those who contemplate it. The genesis of my canvas is made from the most abstract of emotions. Anything inspires me. The barking of dogs, the chanting of the roosters, the hissing of the tap taps, the shrieking of women who have lost their children, the sirens of the ambulances or the police cars; the rhythm of Jazz music, of rara dance, of carnival, of Yandalou, of Ibo, of Petro, and of Congo. In short, the gathering of noises, music, and dances contribute to my creativity.
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