Ceysson & Bénétière

« Clara Guislain: The method of deconstruction then implies a kind of self-engendering that is simultaneously a permanent self-criticism, and which in turn constitutes both the context and the content of the painting. All of which brings us back to the singular way in which you destabilize the place and time of painting by constantly undermining the place where it might close.

Patrick Saytour : The idea was to make an attempt to separate the monstration. Because first of all you have to make something that you can see. To make a form and that this form is seen, even if it is a mental vision, not ocular. What is important is also what carries the decision, at least as we perceive it, how we try to analyze it. What is important is this violence that is often blamed on youth, which is said to lose its vigor with time. These are thoughts that I often made to myself when I was thirty years old. I projected myself into the more or less distant future, positioning myself as being able to stop working before this violence disappeared. I haven't changed my mind much. I am well served by the painting because the painting, even without me, gets away. I have to go and catch it every time, and that's the work. It is not the knowledge. It's knowing how to catch the thread of painting, which may seem derisory, but which, taken in the strongest sense, can constitute an extremely provocative manifesto in terms of deconstruction. It's not about developing or repeating. How not to develop and not to repeat is a way of understanding creative action for me, although it is not a univocal way of considering it. »

Extract from the interview between Clara Guislain and Patrick Saytour, published in the Patrick Saytour catalog, Éditions Ceysson, 2022.