Abandoning "the original for the original" and wanting only to pose enigmas, Garouste freezes his formal vocabulary between hyperrealism of faces and surrealism of bodies. All to his therapy, the artist, who became "master of the world in me", accumulates portraits of relatives, memories of childhood in Burgundy, scenes of madness or biblical illustrations, in gleaming compositions with hysterical components. The 120 intranquil canvases that jostle each other to the point of overflow at the Centre Pompidou then appear for what Pessoa says in his Book of Intranquillity: "a dung heap of instinctive forces, which shines in spite of everything in the sun in glittering tones of gold and chiaroscuro".

Extract from the article by Emmanuel Daydé published in the N°103 of the magazine Art Absolument. Publication on October 14, 2022.

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