The painter, sculptor and performer Olivier Sagazan, was yesterday at Pier in Los Angeles for a performance that is both performing arts and visual arts. On the platform, two cans of paint, two buckets of water, a jar of clay mixed with kaolin.
Then the artist in a suit and tie, arrived and sat cross-legged. He concentrates. He throws a few phrases, mixed soliloquy and curses and plunges his hands into the water and the earth and begins smearing his face. The operation begins surmodelage. 
His work, in line Francis Bacon, sublime flesh Cursed by outbursts of contents: impasto, oiling and clearances. Sagazan bodies, reminiscent of paintings of the English artist.
For Romain Verger, bulletin Olivier Sagazan are a macabre aesthetic, but the bodies, they are abused, do not emit less astonishing vitality. Indeed, these beings are full of matter, made it. Living is feeling the pressure deforming the world itself, as evidenced by the works of El Greco Sagazan or Bacon.
Some texts by the artist on violence art can help us understand his approach:
Is there not already enough violence in the lives
for artists themselves make explicit
in their creation?
violent images have on the public an undeniable attraction
... Just see how some scenes are horrific times
loop on television
at the global level, ensuring a high rate of
listening to their broadcaster.
Our purpose is not to think about this ambiguous stimulus
which then stirred the audience to such images
but try to understand how and why the artist
himself, sometimes ventures into the dark territories!
Because for Olivier Sagazan, paint or sculpt, is to experience a "total body to body." It certainly requires "painful events" in the subject but we share his martyrdom, not only out of compassion ("it was wrong for the sculpture") but due to postural related pain conditions for establishing themselves (muscle pain or nerve more or less acute, "" tendinitis "induced by "asymmetry": a hand holding the paddle the other brush. The creation is like a good punishment. No rise in meat without it: "The skeleton of iron is adjusted using all kinds of instruments of torture: torch, soldering iron, pliers.
an object, specifically a subject, focus attacks of artists: the "face", the "face", the "portrait", the "figure", according to the context, the records where he / she appears. Each of these terms creates a dimension - the appearance, frontal, identity, the intangibility of the form - that this gesture is common to all these artists, I chose to call disfigurement. Disfigure it pierce the veil of appearances, face the person pulling his mask, discover the identity, deform to better understand and feel.
When engaged in his performance, Olivier Sagazan describes itself as "a metaphysical hippopotamus wallows in the mud cleansing."
Exposure Olivier Sagazan be seen in Gallery 5 of the University Library in Angers Lenôtre Street from January 14 to February 26 2010
For more information: The site Artist:
http://nefdesfous.free.fr/index.htm
and a link to a blog where you will find texts Romain Verger several videos of the performance of olive Sagazan.
http://membrane.tumblr.com/post/166394368/olivier-de-sagazan-carnets-datelier-n-14
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