Joy and the Unknown, (April 2017, oil on Canvas, 24"x 18") features a partially clad capoeirista who catapults into the air, his arms outspread, his body soaring into the symbolic unknown. He is lit from both sides and poised, mid-leap, against a background of deep black. Clad in the traditional white trousers of the capoeirista, the dancer appears to have abandoned control, surrendering himself fully to a state of ecstasy. With courage, he has launched himself into the unknown.
For Jean-Antoine, the willingness to take such a leap is not evidence of fearlessness or foolishness. Rather, he regards such gestures of self-confidence as victories over his tendency toward hesitation, which can be a formidable impediment to following through with decisions based on trust in one’s instincts. For the artist, this painting represents the decisive but possibly not-even-conscious moment when a person gathers his or her courage and leaps into the unknown despite fear or self-doubt. In this painting, the figure is a bright silhouette of faith in himself poised against a pitch black background of the unknown, of potential terror.
Euphoria and the fear of the unknown IX, oil on canvas, 81"x83"
Joy and the Unknown III, Oil on canvas, 24"x 18”. This work as well as other in this series (such as Euphoria and the fear of the unknown IX), have the same intention as Joy and the Unknown above.
Euphoria and Suffering I , oil on Canvas, 83''x81'', 2016
In this picture, a woman in a red dress leaps through the air, her legs folded towards her back. Her arms are raised towards the sky and she smiles. The feeling she conveys is one of victorious joy. On the left side of the image, a man catapults through space. He is cambered backwards and holds his left hand very near to his face. His eyes are closed and his expression is one of ecstacy. The body language of the two figures transmits joy, bliss, euphoria, and well being, states of mind a person might experience after achieving a personal goal, completing an arduous athletic feat, finishing a glass of excellent wine, or luxuriating in the aftermath of lovemaking.
To the right of the man, inexplicably, a shark cuts through the empty space on a direct path towards the woman. The shark also functions as a clear memento mori: Memento mori ( In latin "remember that you have to die") during his triumphal procession, a victorious general would have someone standing behind him whispering "Look after you and remember you're only a man.". During the medieval time, Memento Mori was a Christian theory and practice of reflection on mortality, as a means of perfecting the character by cultivating detachment and other virtues, and by turning the attention towards the immortality of the soul and the afterlife. Thus, this painting explores the complexity of human emotions, when feelings seem to contradict one another: anticipation or excitement and dread, elation and fear, aggression and the impulse to nurture, and so on. At the very moment of one’s liberation literally from the earth as with the dancers, there is a realization that the moment will pass and gravity will prevail..
Euphoria and Suffering II, oil on canvas 81"x83"
Joy I, 2015, oil on paper, 18’’x24’’
Euphoria, Oil on canvas 24"x18"
Desire III, Oil on pexiglas,20,5" X 20", 2016
Desire III, detail
Cosmos I, Oil on canvas, 24''x 30'', 2015
Couple tension I, Oil on canvas, 62" X 62", Details
Impossibility to sleep under pressure, oil on canvas, 58’’x72’’, 2015
Doppelgänger, wax, polyester and wood, 2016
This work is about a dream I had 14 years ago where while heading out of my father's room I open the doors and find this other me in front of me! He represented all the aspect of me that I was rejecting. I felt then threatened and enter a fight or flee mode twoards my self!
Doppelgänger, Charcoal and white chalk on paper, 17"x 18" , 2016
Study after F.Bacon, Study after Velázquez's Portrait of Pope Innocent X, Oil on canvas
72”x 58”, 2017, Jean-Antoine Norbert
This painting is inspired by Francis Bacon’s Study After Velazquez's Portrait of Pope Innocent X, 1953, oil on canvas (60 1/4 x 46 1⁄2”, Des Moines Art Center, Iowa) ( here below). It is a scream against the rise of hatred, violence, and intolerance initiated by the leadership and rhetoric of the Heads of State of so many countries around the world.
Standing between the Democratic Vice President Joseph Biden (left) and then-Speaker of the House of Representatives, Republican John Boehner (right), Pope Francis (center), identifying polarizing politics as a force fanning the flames of violent national and international division, implored the powerful of Congress and the millions of others tuning in to his speech to refrain from fighting violence and toxic hatred with the same.
On September 24, 2015, Pope Francis gave a speech to the Congress of the United States of America during the Presidency of Barak Obama. (Please find the transcript below) I modified the original image and made the pontif and John Boehner screaming. Because the speech of the pope was so quiet! Instead, I made them scream, raising the volume of his voice and his message! I feel upset by the situation that the pope is discribing in his speech and Kate Allen, Director of Amnesty International UK, goes in the same direction: “Have we forgotten that human rights protections were created after the mass atrocities of the Second World War as a way of making sure that ‘never again’ actually meant ‘never again’?” Indeed, the Annual report of Amnesty International shows that politicians wielding a toxic, dehumanizing “us vs them” rhetoric are creating a more divided and dangerous world! Whether it is Trump, Orban, Erdoğan, or Duterte, more and more world leaders referring to themselves as “anti-establishment” are wielding a toxic agenda that hounds, scapegoats, and dehumanizes entire groups of people.
The Pope’s assertions are well founded. For instance, the last two American Presidents, George W. Bush and Barak Obama, made speeches exhorting nations around the globe to join them in ending the use of torture. Ultimately, however, all of these promises remain hollow as the CIA continues to use torture as a means of extracting information!
Hundreds of men and women, disproportionately, people of color, are killed by the police each and every year across the United States. No one knows exactly how many deaths result from these extrajudicial killings because the United States does not maintain statistics, which would be clearly indicting and are indicative of the racist policing policies of a country whose incarceration rate is the highest in the world.
This painting is also a protest against the drastic cuts to the budget for the NEA (National Endowment for the Arts) and the NEH (National Endowment for the Humanities), cuts that withhold critical support for the development of a more peaceful, global culture.
Francis Bacon’s Study After Velazquez's Portrait of Pope Innocent X, 1953, oil on canvas (60 1/4 x 46 1⁄2”, Des Moines Art Center, Iowa).