Professional art critic
Title: 'Kids in America'
Art critic and curator Sarah Heussaff said of Gregory Dubus's works that they are 'a praise to the triangle shape' and that:
‘All of his work is seen as a choreography in which the lines and areas of color come in harmony to coordinate with each other. The space is seen little by little invaded by the movement of forms which leaves no frame or immaculate space, nor even silence in the support of this ballet. The predominant lines are done freehand according to the artist's intuition. In a maze of corridors, strong lines and colors, each room unfolds its own entity. Any work produced retains its uniqueness, just like the momentum that dictates the course that the work will take at the beginnings of its conception.
Hypnotic, these plastic productions take in a few points the form of an automatic writing that the artist lets instinctively unfold before our eyes. The rigor and concentration required by this process plunges the latter and anyone who observes the drawing in progress, or completed, in a form of unconsciousness or, on the contrary, in a form of full consciousness. In this, this technique could be likened to a meditative, solitary act, maybe like that induced by the realization of a mandala but can especially be heard and understood as a form of language, a bridge of communication between him and those who watch. This requires consistency and precision and requires, for this autodidact, up to a hundred hours of production for a part. This perceptible endurance when reading these micro-architectures is therefore achieved with patience and an apparent effort, in fact delectable for the artist who says he can see the fruit of his application. A sort of bodily and spiritual elevation in which self-denial is the key word.
Gregory Dubus perceives in the stability of the triangular shape and its multiple representations the parental basis and transmission. With at its tip the fruit of opposing characters from which it is the heritage. This symbolized duality only becomes a - complementary and essential - at its summit. This symbolic force attributed to his works decides the artist to evoke, today, the term self-portrait to speak of some of his pieces. The triangle has heavy and lighter meanings, in one of its more positive aspects it is regularly attributed to determination. A resolution in the image of the creative act of Gregory Dubus who beat trace after trace the foundations of these colorful architectures.’
‘All of his work is seen as a choreography in which the lines and areas of color come in harmony to coordinate with each other. The space is seen little by little invaded by the movement of forms which leaves no frame or immaculate space, nor even silence in the support of this ballet. The predominant lines are done freehand according to the artist's intuition. In a maze of corridors, strong lines and colors, each room unfolds its own entity. Any work produced retains its uniqueness, just like the momentum that dictates the course that the work will take at the beginnings of its conception.
Hypnotic, these plastic productions take in a few points the form of an automatic writing that the artist lets instinctively unfold before our eyes. The rigor and concentration required by this process plunges the latter and anyone who observes the drawing in progress, or completed, in a form of unconsciousness or, on the contrary, in a form of full consciousness. In this, this technique could be likened to a meditative, solitary act, maybe like that induced by the realization of a mandala but can especially be heard and understood as a form of language, a bridge of communication between him and those who watch. This requires consistency and precision and requires, for this autodidact, up to a hundred hours of production for a part. This perceptible endurance when reading these micro-architectures is therefore achieved with patience and an apparent effort, in fact delectable for the artist who says he can see the fruit of his application. A sort of bodily and spiritual elevation in which self-denial is the key word.
Gregory Dubus perceives in the stability of the triangular shape and its multiple representations the parental basis and transmission. With at its tip the fruit of opposing characters from which it is the heritage. This symbolized duality only becomes a - complementary and essential - at its summit. This symbolic force attributed to his works decides the artist to evoke, today, the term self-portrait to speak of some of his pieces. The triangle has heavy and lighter meanings, in one of its more positive aspects it is regularly attributed to determination. A resolution in the image of the creative act of Gregory Dubus who beat trace after trace the foundations of these colorful architectures.’