Short interview with Argatti
What are your sources of inspiration ?
The sources of inspiration for my work, apart from the vertical and horizontal lines of the cliffs of Caux and of high-rise buildings, were and still are music. Jazz in particular, from the bebop era (jazz lovers, think Radio Europe 1 in the Sixties) and the free school, but also contemporary music represented by a first hearing – or should I say confrontation - of Betsy Jolas’ work Points d’Aube during its 1968 world première at the Le Havre Cultural Centre. It is also curious that, in the same year, having completed several paintings in homage to the work, I should find myself corresponding with that great French composer...
How do you go about transposing from music to canvas?
It obviously starts with listening but there is also the score itself, its writing, the fascinating signs. So I try to combine these two senses, hearing and vision, in order to transcribe them into drawings and colours. I imagine that a conductor would be quite close to this vision, this construction, because, when visualising the score, with his own sensitivity he must see, interpret and transmit the content and spirit of the work, not only the melodic part, of course, but also the colour and underlying form. Although the key and rhythms are clearly indicated by conventional signs and by the composer’s indications, only the conductor’s artistry allows him to put across to the public the true contents of the work. And that is what I interpret: a melodic line on a horizontal base, a somewhat vertical rhythm in the background and then colour for the impressions and feelings experienced. All of which, I must admit, is therefore purely impressionistic and lyrical. Coming to the form of the gesture and strokes - melody and rhythm - , that is part of the experience of years of practice which the brain instinctively transmits to the arm and hand. It happens over years, thanks to constant, daily work, almost like a permanent signature. As for the colours, each artist obviously has his or her palette which modulates according to the moment. And as far as materials are concerned, apart from a conscious desire to remain either « classical » or create special or provocative effects, the choice is often dictated by economic necessity
