t is difficult to use the word « imprint » to qualify a contemporary art work; not only because the great exhibition – shown lastyear at Centre Georges Pompidou – seems to have exhausted the argument, but particulary because of the vaguely anachronistic taste this word has. I do not believe, however, that a more adequate term can exist to name the forms which live in Philip Taaffe’s painting. Imprint, not as image of an absence, nor as a process for self definition – signature – but as widened expression of « pure feeling », like the steadiness of the emergence of the image itself. To paraphrase Derrida, we can say that in these works, the imprint is not « physical trace » but becomes generation. Style.
Philip TAAFFE artworks, represented by galerie piece unique