For Franck Eon, painting is still an unpredictable and delirious object that he provokes and invoques in his inconsciousness, in his mythology, in his silences or his speech's. In his animated movie X-Woman, he transplants the sociology professor of John Currin in a remake of a basic sequence of the transformed science fiction here transformed in an invasion of designs of abstract patterns flying about, shown like an explosion show, like a view of the Futuroscope associated with a Malcom Morley ship. It presents a series of abstract canvas's (with 3D images, simply turned around from the gallery), on a wallpaper with a pattern representing the artist 4 times, situated in the painted seats (with ajusted chairs) of a Art and Language installation. Figuration or abstraction? Creation or copy? Steady or shifting?

Franck Eon, knows only too well how hard it is to conform oneself to certain applications in a clear-sighted manner opposed to another. His preoccupation is therefore not to maintain himself in a straight line, without ever straying. Thus his tendancy to roam about in diverse experiences, each time extracting himself from that wandering and going forth. Franck Eon confronts painting in a negociating manner. But it is out of the question to negociate a disagreement in order to organize an agreement. For him, negociation is not the result of a transaction, where the implementation of well thought out rules is the best antidote for a rioted, wild exercice of a transaction. Negociating is here heard in the sens of negociating a close bend, so as to adapt the capacity of the car, its speed and the approach to the difficult segment of the road. Franck Eon regulates opposing forces or to be more precise he makes those forces a whole or the contrary of this whole ensemble, nevertheless without letting go of anykind of confusion or weakness, thus locating the painting in a strange whereabout, that is neither negative or positive yet both at the same time.

In this idea of the multiple and the multiforms, in the mixture of registers, Franck Eon calls upon for this exhibition, an intervention of Rolf Julius. This artist answers the call with emotional and subtal drawings, organized alongside speakers, various materials and pre-registered or fabricated sounds, that discreetly melt in the environment, just visible and audible, thus participating to this process of drop front and little giddiness.

                                                                                 Didier Arnaudet