SPRINGTIME IN PARIS 17

In Springtime in Paris 17, JChadima advances the series’ investigation of botanical form through magnification, reduction, and abstraction. The flower is no longer presented as a discrete object to be observed from a distance; instead, its internal structure expands across the canvas, transforming petals and folds into an immersive field of colour, curvature, and spatial movement.

The composition is distinguished by its extensive use of white. At the periphery, forms are deliberately burned out into an almost featureless luminosity, dissolving conventional boundaries and minimizing visual information. This treatment serves an important compositional purpose: with little to hold the eye at the edges, attention is progressively directed toward the concentrated colour and structure at the center.

There, luminous passages of lime and yellow green deepen into olive and shadowed green. Layered forms curl and fold inward, establishing a pronounced spatial recession and creating the sensation of falling into the depths of a flower. The center functions as the painting’s gravitational point, drawing the viewer from the expansive whiteness of the surface toward a compressed and increasingly enigmatic interior.

JChadima’s manipulation of scale further destabilizes conventional botanical representation. Sweeping arcs extend beyond the boundaries of the canvas, while individual petals become sculptural planes that alternately emerge, overlap, and disappear. The flower remains perceptible as the source of the image, yet its identity becomes secondary to the relationships between positive and negative space, luminosity and shadow, surface and depth.

Within the Springtime in Paris series, No. 17 exemplifies a recurring concern in JChadima’s work: the transformation of close observation into an altered experience of perception. By allowing the periphery to dissolve into white while intensifying the center through colour and spatial compression, JChadima reverses the conventional experience of looking at a flower. Rather than presenting nature for observation, the painting draws the viewer inward, turning the act of looking into an experience of entering the subject itself.

Provenance :

CERTIFIED EXPERT N° 20260903104143 | REFERENCE/ISNI : 2024-27

AKOUN CERTIFIED : 2800 Euros.
Exhibitions :

2024 CARROUSEL DU LOUVRE, PARIS