07 June - 14 July 2018
The narrative fictions bet on stage by Nava takes us in an improper universe where the reality has little its place. Imagins that you cross the road, that a truck knocks down you, but that, not only you died, but that moreover, crocodiles arise to stop eating you. Welcome in Robert Nava's universe. It is absurd and reality, border between the reality, the imagination, and what could happen. We oscillate constantly between esthetics of cartoons, south park ft Princess Mononoké, incredibly unrefined and trick in game of language. The paintings of Nava possess a feeling profoundly personal and autobiographical. As he says it exactly, "I like making drawings and playful paintings which push the seriousness in the nonsense ... The work is often led from daily events which balance each other at random and in the synchronicity". Never completely sincere or easy to decipher, Robert's funny morbid rooms leave us with a bitter laughter and a question mark. Nava paints rear of trucks, crocodiles which kill people "accidentally", but also devils, fighting angels, fancies on fire. He is very livened up by this question of the chance, indeed, why things arrive now rather than later? Why am me i made overturn by a truck by crossing and didn't me die? Necessity, questioning, are the keys for reading the work of Nava. The free violence of its works sends back to us to our own violence in the sense that as regardeur paints, we wonder if we want to see that. Once seen, it is too late, the image is, significant as a retinal persistence there, it sticks us at the bottom of the retina, it is ended, we have no more the choice. There is then an everyday nature in the work of Nava, every being of which cannot that it smells close in spite of him: houses, truck, fire, dog, fox, child, fox on fire in one children house etc. etc. etc.. The vocabulary of Nava's habits and customs is ours. As Boccato, he makes the fine distinction between what he is and what precedes him, the history is clear. Squares-trucks we dismissals in more famous squares, than they are black or white, the abstractions in so many lines, deletions, words move closer us of to one Jonathan Messe, himself even inspired by a mixture of classic and primitiveness. The subjects of representation vary all in all little, but their interpretation are contextual. We are in 2018, Goya painted the disasters of wars, Nava paints trucks and legs stained with blood on linen large formats. Things little changed.
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