Patrick Corillon has affinities with Borges and the Portuguese poet Fernando Pessoa whose art consisted in creating imaginary characters. friends, acquaintances far whom he constructed entire lives, and with whom he maintained close relationships.
In the same way, Patrick Corillon has created same ten different characters which he develops from exhibition to exhibition by dropping tiny hints of their biographies. At first, their identities were not revealed. But, in 1988, the artist brusquely changed the rules of the game by lifting the veils of anonymity from these fictitious characters of another age, like Oskar Serti, a Hungarian writer, born 1881, died 1959. In the manner of a top reporter, Patrick Corillon plays with the figure of an artist travelling from spot to spot in order to realise exhibitions relating critical episodes and romantic adventures from the lives of each of the invited characters. It's an image of art as adventure, as risk, along with a reference to the imaginary worlds of childhood.
From scene to scene, the characters bounce back in different guises, caught in the act at any time or place, like in a television series, or Hergé comic that doesn't require any chronological reading of its heroes? escapades : a savoraus metaphor of the work itself. A work that runs counter to the times, unveiling itself chastely, bit by bit, without ever giving in to the image. This is an open work, in the sense Umberto Eco gives to the term, an unending unfolding, a hypertext which opens out to infinity. At the same time, you could just pass by these pieces without even seeing them, so closely do they cling to the context, adapting the written word as their obligatory code of access.
Far from being a destabilising trick, Patrick Corillon's trivial anecdotes and insignificant slices of his characters? day-to-day existence all have roots in the places where they come to life. For this artist, fiction is a postulate of reality, not an escape from the real, but a way of coming closer to it. A method of investigation.
In an unassuming way, Patrick Carillon gives the viewer back the active role he took an with Duchamp, as reader of contemporary art. The role of the actor who brings the work to life. His anecdotes formulate punctual screens of mental images far the individual. To render visible the invisible, to project one's own cinema: this is the artist's invitation. But only for those who know how to read, who know how to see. To be continued?