22 Juillet 2024       Musique du site                   



Through his tapered paintings Didier Cottin creates an array of very large formats (up to 5 x 5m) to be exhibited in semi-darkness. “My conical installations are illuminated by a set of glittering lights. The lighting and the properties of the installation give an illusion of movement.”

In addition, we hear techno-music which enhances the images of the installation.


The artist believes that in the solar plexus we emit cone shaped radiation, which is elongated, invisible and striate. He calls this trend the cone chest. The paintings are conical in representation.

At first, the paintings attempt to reproduce these cross-currents that emerge outside of the body.

Secondly, each canvas seems to represent the images seen when the brain is disrupted. In this case, one sees images of a type similar to hallucinatory paintings conical forms. These forms are directly related to structures of the visual cortex.

“My reason for working in this manner”, says Didier Cottin, “is to create a resonance between what the eyes see and the invisible”.


According to the artist, “each of us receives and sends out mysterious kinds of waves, in the same manner as an antenna. Thus, they pour out of our body along two axes. On the one hand, along a horizontal axis (through the chest cone), we interact with the living, on the other hand, along the vertical axis, we interact with the non-living”.

Two axial connections define us: first, we continue with the living world and the second with the world of elements.


Didier Cottin’s paintings represent particularly our energies horizontal; namely our cones allow us to interact with the non-living. The paintings show how we make our chest by the social energies to others, while capturing the energy of vertical elements.

According to the painter “a poor flow of radiation damages our personality. If our cones are not expressed, because we have no awareness of their existence, we cannot reveal our true charisma”.

By showing these paintings of conical flow, the artist invites us therefore to develop our chest cones and to express our two axes.


Moreover, the artist wishes in this context synchronized visual and sound mixed together resulting in a "dance conical" so that we feel "the conical parts and invisible things”. In this mystical dance, he wants to connect us with our cones to others in the world and to the elements.

In this collective, he wants the painting to be a place of revelation that connects us to the whole.

Thus, for his work, Didier Cottin gives us his personal vision, that makes us aware that links exist which extend us to the outside to form a bridge across the gaps that surround us.

He shows us that the existence of the current spacio-collective enables us to better understand each other and what is around us.


Didier Cottin is not by any means your usual kind of artist. He is unique, almost mystical, in his approach to art in that he is instinctively aware of the eerie relationship between, wood, stone, metal and living matter. If this sounds like paranormal or X-files syndrome perhaps it is. But this is what Cottin feels profoundly from the depths of his heart. He believes that a piece of wood is not just a piece of wood, but it has sounds and dreams within it, that a stone lying on the shore is not just a dead-rock-stone but it has the music of the sea to be heard from it like a sea shell that harbours the sweet stirrings of the tides with the strange melodies of whales and dolphins signalling to each other from the chasms of the ocean.

Perhaps all the strange currents that stir the artist’s mind are not so strange after all since Cottin’s great love is to surf the high thermals by jumping off cliffs embraced only by a broad- winged kite that allows him the pure freedom of joy, “to slip the surly bonds of earth” as the poet John Macnee expressed in his poem “High Flight”.

So when we view Cottin’s work we must appreciate that what we see is not dead matter but living totems on the walls that speak to us silently.

Commingled with his art career, he has also created a dual curriculum in both his scientific and mathematic endeavours.

Thank you to George Mendoza for english traduction

Les tableaux stroboscopiques sont soumises à un copyright et ne sont pas libres de droit.