De 7 à 17 ans, Guerineau s’est épanoui de sa passion en suivant une formation artistique
dans un atelier d’artiste professionnel. Par la suite il prit ses propres ailes, vint à Paris pour être portraitiste de rue durant 2 ans. Il s’est appliqué ensuite à découvrir l’art espagnol et d’années en années a acquis son expérience
qui l’amène aujourd’hui à un art d’émotion
personnelle.
Professionnel depuis toujours Guerineau a exposé sur de nombreux salons et dans de nombreuses galeries en France et à l’étranger.
Médaille d’or au salon des amis de Montmartre
à Paris(2002)
Médaille d’argent au salon des Créateurs du siècle «ART INTER» à Dijon en 2003
Toile d’Or 2001 de l’association de la culture française à Paris.
L’oeuvre de Guérineau est à la rencontre des
Mondes de toujours, ceux de la nuit des temps
qui portent le souffle des grandes inspira-
tions. Chez lui tout n’est que force et combat
où s’affrontent le coeur, la passion, les souf-
frances et les incompréhensions d’une vie qui
chaque jour hantent son esprit. Loin du consen-
suel, Guérineau ne laisse indifférent. Pour ou
contre, «sol y sombre», jeté avec vigueur sur
le support dans le délicat des nuances, son art
occupe l’arène de nos questionnements, ces
obstacles et difficultés qui provoquent l'exigence
de choix, l’appel à une décision.
Peut-il y contribuer ?
Certes la réponse appartient à chacun, mais
Guérineau est de ces vrais artistes
qui ont tant à dire que leur expression foison-
nante bouscule les préjugés pour la plus grande
vérité des esprits qui s’y abandonnent. L’art de Guérineau est une cure de régénérescence.
A son instar, puisse-t-il nous permettre de dire
aussi : «Mon expérience me permet d’être
sincère envers mon miroir.»
Marc POINTUD
Expert en Art actuel
We are first seduced by his “laughing eyes”. Then we are impressed by the tremendous energy he gives off. And finally we cannot help but admire his generosity and openness that animate his sense of art and need to paint.
On October 7, 1962, Guerineau opens his eyes to see world where he does not belong, condemned by medical inevitabilities to close them forever. Some weeks later, people are stunned by miraculous events that deny him such a sad fate. Therefore burdened by the suffering inflicted on his parents Guerineau strides strongly on showing spontaneity in everything he undertakes. It is Art that Guerineau is passionate about at the expense of his studies. He will spend 10 years with a painter, Roger Oliver, who teaches him everything without any difficulty whatsoever, given his artistic potential.
On the dawn of his 17th birthday, his master disappears. Guerineau will then wonder around and paints portraits in Montmartre for 3 years where he maintains a strong relationship with Spanish artists whom he will eventually follow back to their homeland. There he will devour their culture and put his artistic power to the expression of bullfighting.
He will discover his palette and find the influence of his burgeoning expressionism. Guerineau begins to reveal his energy and spontaneity at artistic events and engage in the art of performance.
From canvas to canvas he lays his emotions with an endless search of external power. Edging deeper into his work , he faces a sense of duality: he must now capture the spirituality of the inside world. This work gives birth to the series of his paintings in which appears the vanities.
Guerineau’s characters offer a macabre dance and highlight the grotesque nature of existence which is often synonymous to the suffering in a vein which is voluntary morbid with emaciated silhouettes to return us to our own questions about the meaning of things. At a chromatic level, he remains true to his palette which is reduced to gross primary colors as were often those of Kirchner and Die Brucke, artists in which red predominates in most cases.
Guerineau’s work is at the meeting of the continual worlds, those of the ancient times which breath great inspiration. The artist creates on the suffering and the misunderstanding of a life which haunts his mind every day of his life.
Guerineau imposes his vision on a quest to find truth by using an x-ray of the soul through ominous beings that flee the mass color juxtaposed by the vivacity of the touch on the canvas. He no longer seeks to magnify the human body as the portraitist he used to be but to challenge himself to something deeper, to bring out the soul of each individual where flesh would be adding a superficiality aspect and render the piece embarrassing. Thus we are faced by a liberating exposure of ourselves.
This expressionism translates obviously as a rebirth, a renaissance, a mirror reflecting our own unanswered questions.