The last supper or a hundred titles, oil / canvas by French artist Gilles Chambon
A synchronistic transposition of Leonardo da Vinci's "The last Supper"
More than five hundred years after the fascinating, brilliant, and mysterious "Last Supper of Santa Maria delle Grazie" (Millan), which was 315 inches long, Gilles Chambon proposes a synchronistic version, this time 79 inches long.
This painting converges works that normally would not have met: the apostles of "The Last Supper" of Leonardo da Vinci (as it was transmitted in particular by Giampietrino's copy); an adaptation of Picasso's famous "Guernica"; the landscape created by Giorgio de Chirico in "Lassitude of the Infinite", inverted and resized to recall the geometric perspective and lightinginof Leonardo's painting; and lastly, Halsman's photo of Dali's human installation "In voluptas mors", a death's head composed with seven women's bodies.
From these unusual connections comes a new plastic symphony with a multitude of meanings:
The hundred possible titles of the painting are inscribed on the tablecloth instead of the embroidery that Leonardo da Vinci had drawn.
One hundred titles, oil on canvas, 79 x 30 inches
The Last Supper of Leonardo Da Vinci revisited by Gilles Chambon.
The format of the photo presented in this article does not allow to read them, here they are in extenso, as they are written from left to right:
The frozen laughter of God
The infinite lassitude of faith
Finally, the end of the infinite
In voluptas bit
The complexity of the world
The simplicity of the world
Mass said in Guernica
The anxiety of the denouement, The mystery of the Eucharist, The disappearance of corpus christi, The twelve movements of the soul, The seven virgins of eternal life, The birthday cake of God, The train of relativity, Faster than light, The vanity of God, The conspiracy of Jerusalem, This is our destiny, Left and Right facing Holy Treachery, The World Separated in Two by the Divine Light, Apotheosis of Synchronicity, Parable of Infernal Love, This is not a Supper, Tribute to Vinci, Chirico, Picasso, Dali and Halsman, The Surprise Egg Under the Light Bulb of Satan, One death can hide a thousand others, Spectrography of the moment T-1, The exquisite corpse announces a voluptuous death, The disappearance of eternity, The eternal disappearance, The erotic cuisine, What of God, The crisis of faith Jesus fled in the train with the holy spirit, Death miming the seven heady sins, Dream caused by Eucharistic indigestion, The thirteenth door, The true face of universal compassion, The good side of things, The bad side of things, The jokes of Christ, The unusual revelation, The impromptu invitation, The disaster theorem, The holy death drive, The spiritual life is also a deadly disease, The last sarcasms, The staggering energy of the theological emptiness, The announced death of the good feelings, Unexpected explosion of the faith, Miraculous vision of skull of St John the Baptist, The true battle of the shadow and the light. Veni, vidi, Vinci, The Twelve, The mephitic vapors of the Holy Spirit, Faith begets monsters, The apostles admiring the diabolical work of God, The fortuitous discovery of the unconscious, The multiplication of erotic corpuscles, The deadly death, The great controversy over Eros and Thanatos, The persistent shadow of desire, Game of massacre, No one is irreplaceable, The holy confusion of impulses, Where did Jesus and Mary Magdalene go? The apostles scandalized by naked truth, The apostles of surreality, The delights of carnal death, The charms of the afterlife, The premonition of Golgotha,The last glide of the Holy Spirit
The terrible lucidity of Judas
To whom dream the apostles
The enigma of the Metempsychosis
The temptation of martyrdom
The last mirage
The corpuscle of the gods
The sacred story told to the deaf-mutes, Eroticism of transubstantiation, The ambivalence of eternal life, There will not be for everyone, The bride laid bare by 12 singles, even, Dinner of cons, The wrong place at the wrong time, The triumph of the tempting death, The eventful life of the saints, Better avatar than ever, The ghosts of Catholicism, God is 7 women?, The jaw of God Apostolic synchronicity, paranoid, and critical, Petition against LSD in the hosts, To drink and eat, The odyssey JC-1, God is a time bomb, Metaphysical of an instant of eternity, The dragee high, To life , to death !
Gilles Chambon is a painter and architect.
As an architect, he was particularly responsible for the design of the stations and urban poles of the Algiers tramway (2010), and the design of the course of the Chapeau Rouge in Bordeaux (with David Mangin, 2005). He also taught and studied for more than twenty years at the Bordeaux School of Architecture.
In painting, he began, in the years 80-90, by imagining in watercolor fantastic cities, composed of abundant architectures. Then in the 2000s, he turned to oil painting on larger formats, reinterpreting in an offbeat, sometimes humorous way, in a surrealist, dreamlike, and post-modern spirit, the great subjects of painting mythological and religious.
Since 2014, he has devoted himself to what he calls “synchronistic figuration”. Synchronicity is a concept forged by the psychoanalyst Carl Gustav Jung to describe strange coincidences: when an unusual and profound meaning arises suddenly from the accidental reconciliation of facts that have nothing to do with each other.
A synchronistic work is thus an unexpected encounter, in the same painting, of different fragments borrowed from the history of painting, and reinterpreted. In composing his synchronistic paintings, G. Chambon seeks the secret affinities which may exist, for example, between certain works of Giotto and Braque; or Zao Wou-ki and Goya; or of Picasso, Chirico, and Leonardo da Vinci, etc ... Then new poetic configurations are born, bearing a homage to the masters of past centuries, and also allowing to rediscover forgotten painters.
For G. Chambon, synchronistic figuration is a pictorial response to the loss of landmarks that undermines contemporary visual arts. The opportunity to reconnect with the fantastic treasure of the collective imaginary concealing our pictorial heritage is now offered thanks to the Internet. Indeed tens of millions of works, from all ages, are available online for free on the Web, and can be consulted in one click. It is therefore a "raw material" of an unheard-of richness that asks only to reseed the imagination of the painters of today ... If they take the trouble to pay attention.