Grossissement 1927

Serge Charchoune made 'Grossissement' with paint, and it feels like he was really in the thick of it. There's something so tactile about the way the paint is layered – you can almost feel the artist's hand moving across the canvas. It’s like he's digging into the surface, trying to unearth something. See how the colors bleed and blend? It's not just about representation, it's about the experience of applying paint, of making marks. I imagine him, brush in hand, squinting, tilting his head, trying to make sense of the chaos. I feel a real kinship with Charchoune, that sense of grappling with the unknown, of letting the painting guide you. Each gesture, each color choice is like a question, a proposition. And in that process, new forms and meanings emerge. Painting is like that: a conversation, a constant back-and-forth between artist and artwork. We can all participate in the conversation because painting offers a way to engage with ambiguity.