the musée de la Poste
15th May - 31st July 2000
Envelope : A dual idea, Stamp-writing
Of the one hundred and fifty works created over almost a year, two-thirds
are present at the Musée de la Poste as well as the White
Spirits and Whites which came into being as a result
of this idea.
Initially, perhaps as an adaptation to this new inquisitiveness, the formats
are classic, close to those of traditional envelopes then, with a natural
disposition for large supports, they led naturally to writing and the
concept of texts filling the envelope.
Half-hidden by the painting, the texts are nevertheless legible, composed
in a graphic design to express the idea that the content of a letter which
is addressed to you is partly known beforehand as it certainly carries
the reflection of the receiver, like his or her mirror.
Out of this idea of reflection and like a necessary impulsion, O Mérijon
and a writer-friend started a correspondence. Amaury replied in words
to Mérijon's watercolours. A book records this correspondence,
"Lettre qu'on écrit et puis qui nous laisse là... "
This period, as is the case with all creation, gave the paintings their
current direction, one of pure forms and which exude a profound presence.
Some White Spirits with their diagonal geometry and the most recent white
paintings are all testimonies to the experience.
This exhibition retraced O Merijon's work of the previous three years
with pertinence. Giving us an excellent vision of his art, poetic and
full of light, from which the secret of a presence is felt.
Mail Art. White Spirits. Whites.
Correspondence with Amaury.
Watercolours. Mixed Media. Oils.
Envelope. Form. Concept. Line. Surface.
words are half-hidden but come into focus.
present is the hinted-at letter in line
the idea that to some extent you already know the contents
letter which is addressed to you.
are being addressed personally and are sent
of yourself, a mirror.
envelopes are mirrors which we accept,
chosen by someone else,
us to see ourselves and whereby,
through emotions, instinct or necessity,
what we have been,
what we are and envisage what we will be.
Stamp Env 119
The shape is the
first element which emerges, white frame
canvas", visible, ready to be painted, almost a habit.
The rectangular form,
the natural lines, the intersection of the solid interrogation.
A natural movement
towards large-scale formats
Painting - writing
Over a period
of 2 years, Amaury
replied to my watercolour letters in the form of texts.
the response was the appropriate
reply to what I had sent.
EXTRACT FROM THE CORRESPONDANCE
When you start to think about it, it's already too late.
It's like a flash, a projection, a trajectory which gathers speed, leaving
Everything is in the present which lasts and stretches ahead unchanging
until it is read.
And everything is in that morning, in the orange aurore when the letter
passed along the distended passages of its relentless path.
If only we could go back in time.
If only for one word or an exclamation mark.
To intercept, divert, catch it in its flight.
But enclosed in this letter is part of oneself held in the perpetual present
yet being sent into the ever-changing future. That nothing can stop.
And it's already too late.
And everything moves faster, moving further ahead. Going so fast now.
And while all around everything flees, leaving long blue trails, and everything
changes colour and direction, stamped, addressed, enveloped, inside we
And there is nothing we can
work, exhibited at the Musée de la Poste in Paris, France in 2000,
is the outcome of our correspondence.