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1964-2011

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From his work on the Déjeuner and its derivatives, Jacquet begins to experiment with trames. The artist always has fun with the image, he transforms it and distorts it by playing directly with the mesh of dots inherent in the screen printing process.

The work is thus fragmented, either by the points of the grid, or by its lines. The deformed lines of the frame streak the image or the picture; this technique, like that of enlarging the dots, is camouflage. Still, the original, original image is deconstructed to be restructured otherwise.t

The work is thus fragmented, either by the points of the grid, or by its lines. The deformed lines of the frame streak the image or the picture; this technique, like that of enlarging the dots, is camouflage. Still, the original, original image is deconstructed to be restructured otherwise.

Jacquet’s involvement in “Mec ‘Art” (mechanical art) and the technical means at his disposal offer him almost endless possibilities: he can multiply variants, series, all forms of trames, all subjects and even all types of support – plastic, inflatable, Plexiglas, wood, fabrics… .etc. Jacquet rethinks the image as an industrial object, infinitely reproducible, undifferentiated, multiple … and unique by its very multiplicity.

In 2004, Alain Jacquet decided to reissue works whose first versions had been defective and irretrievably lost, such as the red and yellow versions of Bat Girl on vinyl which stuck together. The artist was also able to create paintings that remained in the state of projects at the end of the 1960s: these were the “Remakes”.