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Jean Le Gac (born May 6, 1936, in Alès, France)[1] is a French conceptual artist, painter, pastelist, photographer using mixed media,[2] frequently video or photography and text to document his investigations and sketched scenes. His poetic photographic interventions in which he is most often the main subject are accompanied either by typed text describing the underlying story in the artwork or handwritten notes in the art piece itself.[3] Member of the Narrative art movement[4] since the seventies, Le Gac ofttimes tells a story about an imaginary character that viewers can easily identify with the artist himself.[5] He calls it a “metaphor for painting."[6] Le Gac also uses the artist's book as a central part of his art practice.[7] Le Gac is a Professor and lecturer at Institut des hautes études en arts plastiques.
Le Gac was selected to represent France at the Venice Biennale in 1972 and at Documenta 5 in 1972 in Kassel, Germany. Following Jean Le Gac's first solo exhibition at the Museum of Modern Art in 1973 in Oxford, United Kingdom, Jean-Hubert Martin, a leading art historian and curator of international exhibitions organized the first Le Gac exhibition in France at the Centre Pompidou in 1978.
In 1991, France's national state-owned railway company (SNCF) commissioned Le Gac to create work for the stained glass ceiling of the newly renovated train station in the Alsatian town of Colmar in France. Through his glass enclosed paintings, Le Gac drew the adventures of twin sisters who were tied up next to the rails but saved by a painter hero.[8]
In 1992, Le Gac was commissioned by the City of Cannes, France, to realize four multi-media artworks in the old fortress prison of the Fort Royal of Île Sainte-Marguerite, famous for having ‘hosted’ the Masque de Fer (Man in the Iron Mask) incarcerated during the reign of King Louis XIV of France during the 17th century. Le Gac used aquarelle, pastel, acrylic paint, and video projections to create murals in four different jail cells of the fort. Each painting is associated with a video in which a fixed image of the artist appears and whispers a story of the paintings.[9]
As in many of his other works, the concurrent use of text and image allows Le Gac to draw us into his poetic imagination, transporting the viewers in his inner voyages full of trains, dreams, plants, pastels, and photographs, the traces of real and imaginary wanderings.[10][11] One typical such early work is “Le Roman d’Aventure” made in 1972, where Le Gac represents himself both as the painter searching for an elusive character he never catches up with and as the narrator behind the camera that documents his desperate search.[12] In those “photo-texts” as Le Gac call them, he talks about himself in the third person and chases his own elusive dream of becoming a painter.[13]
