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From the first Cylinders in 1961 to the latest reissues of Café Hippie in 2004, the work of Alain Jacquet is rich. And complex. To consider it as a whole is to venture into the Labyrinth, guided by the red, yellow and blue line, to find, finally, the central point, the “Landmark”, hidden in bright light, camouflaged by ‘evidence.

From this point, we can see the whole of the Jacquet sphere, and its very unity. The works follow and overlap, mingle and oppose, call and respond to each other. Everything is linked, everything makes sense. The abundant creation revolves around an idea of ​​Art, a vision of the world, around the artist’s obsessions and the issues that drive him.

So how do you approach the work in its entirety without betraying it, without truncating it? The division into 9 periods proposed here is intended to be chronological and thematic. It is necessarily arbitrary. But, like the fragmentation that the artist had subjected to his Lichtenstein Hot Dog in 1963, it is the very image of Jacquet’s creation: divided and whole, one and multiple.

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ABSTRACT 1960 – 1961

IMAGES OF EPINAL 1961 – 1962

CAMOUFLAGES 1961 – 1964

DÉJEUNER SUR L’HERBE 1964

TRAMES / MEC ART 1964 – 2007

BRAILLE 1968 – 1973

ESOTÉRISME / SCULPTURES 1970 – 1990

EARTH AND VISIONS 1972 -1988

PAINTING BY ROBOT 1988 – 1999

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