fire 

Since the 1950s, Christian Jaccard uses different techniques and combinatorial processes. The fire-tool “draws” as well as any brush. The living paint spreads inside the canvas, generating forms whose distribution are never completely predictable. It is not the fire which is important but the after trace, the charred imprint, the memory of the making. 

 
My visit to Jaccard's studio on January 2, 1991 will forever remain in my memory, seared by a trace of fire. (...) When I understood that soot is to ash what void is to blue, I realized that I had never experienced such an emotional shock before the sublime truth of appearance since the 14th of January 1961, at the site of Yves Klein's fire sculpture in Krefeld.
Pierre Restany
The proof of Truth by Fire
Catalogue Brûlis, Louis Carré & Cie, Paris 1991

TONDOS & OVALS  |  COMBUSTIBLE THERMAL GEL


DIAMONDS  |  COMBUSTIBLE THERMAL GEL


SQUARES & RECTANGLES  |  COMBUSTIBLE THERMAL GEL


PEAKS OF COMBUSTION  |  COMBUSTIBLE THERMAL GEL ON PAINTED CANVAS


RAIN  |  COMBUSTIBLE THERMAL GEL ON CANVAS


TOOL WRAP  |  ROLLED BLACK MATCH FUSE TOOLS


WHITE FOLDS  |  BLACK MATCH FUSE ON FOLDED WHITE CANVAS


COLOR FOLDS  |  BLACK MATCH FUSE ON FOLDED PAINTED CANVAS


TROPHIES  |  BLACK MATCH FUSE ON LEATHER


TARGETS  |  BLACK MATCH FUSE & TAPE STENCIL


ENTRELACS  |  BLACK MATCH FUSE DIPTYQUES ON CANVAS


LITHOCOMBUSTION  |  BURNED LITHOGRAPHS ON PAPER


ANONYMES CALCINES - ALLEGORY  |  BURNT ANONYMOUS PAINTINGS


ANONYMES CALCINES - PORTRAITS & ACADEMIES  |  BURNT ANONYMOUS PAINTINGS 


ANONYMES CALCINES - MOVIE STARS 20th CENTURY  |  BURNT ANONYMOUS PAINTINGS

ARCS  |  COMBUSTIBLE THERMAL GEL & BLACK MATCH FUSE


BLAST PRINTS / INCISES  |  DETONATING CORD ON MIXED MEDIA


BOIS CALCINES   CHARRED WOOD