Review Henri Prosi

Taking a fresh look at the painter's studio led us to choose to present works from the 1970s and 80s. Revisiting this work of broken lines, of cut and pasted canvases, sometimes stretched or unstretched, strikes us with its vitality. Yet the structure is there, the cuts are clean and orderly through the mounting on the canvas, the jumble of lines. This vibrant whole calls out and awakens the gaze. We will linger longer to understand what dances before our eyes. Prosi was a vibrant and energetic character, always in motion.

Domitille d'Orgeval aptly describes his work and the artist here:
From his beginnings in the mid-1960s, Henri Prosi approached geometry not because he saw it as the embodiment of moral truth or absolute geometric order, but rather for its vital dimension. Indeed, speaking of his early geometric paintings, the artist stated: "There is a dynamic action, something is happening. For me, it becomes alive. Like people passing each other in the street, like life." This dynamism, based on the dialectic of relationship, governs the artist's entire body of work. Prosi explored its infinite possibilities with an astonishing capacity for renewal, studying in turn the contributions between colours (reduced to primaries and black and white), rectangles, squares, verticals and horizontals, solids and voids, while each time emphasizing a particular aspect of the work, whether it be its structure, its surface, its contours.