The contemporary artist is duty bound to dare the spirit in essence an active one of man before writing who organizes and impose his orden on the chaos of the sensations. Through representation, he censes the essence as an act of constructing, of creating. The smell of destruction is nauseating for him when he talks about creation. A lady colleague of the mimetic reproduction, that is to say imitation, belongs only to the naturalists. Keys of the ancestral mystery are given to the anti-naturalists. It's up to them not to loose these keys!
Strength -at the beginning of this third millenium- is in the Primitivism, drawn from the difficulty (especially in Occident) to live the affirmation of differences with their resolution. Through representation, the contemporary artist goes by the faithful of his own feelings (and the ones of the collective, of the community) rather than the feelings of appearances... in order to access to the divinity. Reality is a question of illusion. Realism is an answering of communication. Added to the idea, the instinct of metamorphosis is linked with the contemporary artist as the one in the whole, on the boundless way of the sacred.

Prime arts (that is to say cave arts, court arts, archaic arts, primitive arts, popular arts...) are today coming to maturity. The assimilation attempts of these arts by the phenomenons of fashion during the modern era of the last century have travestied the sacred to only do a married.
Signs we can get out of the exterior reality, as seen in the spirit of man before writing, are substitutes rather than abstractions. Signs -the visible- show the eyes of the watcher. Then come the interpretation of signs -the legible- which show the glance of the watcher. At last the conjunction of visible and legible, of signs and interpretation of signs, only letting a mask which sees and which gives to see.

The contemporary artist is duty bound to dare these aesthetic pulsions in the twists and turns of the labyrinth, and to go in search of the religious essence and magic sense of things!

The discovery of the abstract expressionists from North America (Pollock, Newman, Rothko...) was to note that more the pictorial attention for primitive forms is evident and conscious more in the last analysis the success of the finished artwork become problematic. In other words, more the conscious search of signs and forms is increasing, less the "tribalism" is evident. Answering of the North-American people to the European people, the surrealists, whom the belief was also in the creative power of the unconsciousness. But instead of thinking as attributes, the North American people thought as abstractions. Their later legacy has to be considered for the wave of happenings and "performances".

The surrealist dissidents like Giacometti knew how to use the ethnographic datas to transgress the well defined frontiers of an art world which founded its categories on form, an anti-idealist world, anti-humanist in its philosophical dimension. Giacometti knew how to celebrate the original function of woman who was considered in a primitivised logic of forms, that is to say in an aesthetics of primitive art.

Art, science, myth: the task of the contemporary artist consists to find the strenghts which can reconcile these three entities. The primitive is not only to be considered in conceptual terms. Men before writing didn't let texts about the organization instructions (so conveted by the conceptual people) of their societies (tribal and prehistoric one). Nevertheless, their teachings can be read through "formal" texts like painting and sculpture. All their memory is here...

Reading the artworks of the primitive artist in order to expand that poor picture book from the archaeologists of highways! It's the price to pay for taking the paths of the community: acting a little bit more with the aesthetic sense rather than the sense of social curiosity...
Today, the ethnographic talking is complete (primitive arts are coming to maturity) because many people have seriously investigated into the nature of the aesthetic and specific frameworks where it stays alive. The aesthetic sensitivity is not an exclusiveness of the "civilized" world.

And libraries are not always where we think they are...