Artist, painter, photographer, musical creator, author, poet, archivist and video maker, Alain Saverot is a creator who has continued without stopping, ever since his admission to the Ecole Nationale des Beaux-Arts (French National Fine Arts School), at the age of 17.

His principal individual exhibitions, since 1975, have taken place in Paris (especially at the local Town Hall in the 1st arrondissement), Melun, New York, Tokyo, Dakar and Tunis. Spontaneous, lyrical and filled with warm expression, his style of painting remains somewhere between the figurative and the abstract, with a predilection for the theme of the human face (and its various expressions). For certain exhibitions, his video installations have also been displayed.

In music, he has published the CD albums "The Alain Saverot Story (1975-1996)",
"Hiéroscopie exotérique" (Exoteric Hierscopy, 1997), "La fête chromatique"(The Chromatic Festival, 1999), "Rythmes de toutes les couleurs" (Rhythms of all the Colours, 1996-1999) and his presentation box of "Utopies" (Utopias, 1998-2000). This audio creation formed the subject of a beautiful programme broadcast over the entire Radio-France network in 2001.

President from 1977 to 2001 of the "Bilan de l'Art Contemporain" (Organisation for the Assessment of Contemporary Art), originally founded in 1890, Alain Saverot organised important exhibitions of European artists in Paris (sponsored by the Paris City Council), Québec (sponsored by the Ministry of Culture), New York, Los Angeles, Tokyo, Taipei
and several other Asian capitals. Since 2005, he has run the "Pierre d'Angle" (Cornerstone),
a cultural promotion group born near a spot called "Le Point Sublime" at Saint-Georges-de-Lévejac (in the Lozère region of France).

Knight of the Ordre des Arts et des Lettres in France, Silver Medal of the City of Paris and Gold Medal of the R.C.D. (Democratic Constitutional Union of Tunisia).

Man-eye trying to tame time by means of the eye of man

    A gallery on Internet?
      Nothing would be more suitable for artist like
    Alain SAVEROT.
Because Internet discloses all of his multifaceted artistic talent in a single medium. Painter, video artist, photographer, composer, poet, author of a very personal philosophy ... and more no doubt. All of these skills correspond to the expression of Alain Saverot.

    Eyes-seeing are his first priority. Alain Saverot's canvases are overloaded with eyes. His paintings reiterate his own persistent contemplation of the world. Rarely has the eye been so present and taken on so many forms as in the work of the painter. The eye means more to Alain Saverot than to anyone else. He lives through his eyes. He creates through his eyes. He understands through his eyes. His insatiable eye knows how to see and to learn. For Alain Saverot, watching means reading reality page by page, image by image. His obsession is with stopping an image, by painting it, by photographing it, by drawing it. Sometimes the instant is gone in a fraction of the second. And once the instant has been frozen he wants to file it, to give it a place retroactively in the course of time to be reconstructed; while continuing his own quest for the time of a lifetime. And this time, which he grasps but never has in hand, is closer to pure energy for him than to an anecdote, energy he reflects both in his philosophical texts (here we can mention l'Esquisse métaphysique) and in his paintings, like Transparence, for example . His quest is to seize the vortex of time in his symbolic, obsessional spirals. Saverot associates many signs and ideas with the spiral -- continuity, movement, cyclical movement to infinity; and, even more, the labyrinth. Because, for Saverot, every effort to obtain movement and time is subject to the discovery of mystery.

Another facet of Alain Saverot's art is music. After all, his very name writes the words TONE and NOTE. His music is witness to his constant search for a new language, and this time from the standpoint of sound. More particularly since 1995, by working with and using the many possibilities of electronics (and synthesizers) ... and in this quest for language, Saverot's painting and music come together. As a composer, the words are an illustration of music, like painting. The words are in the backdrop - they have the power to set off the imagination.     On a quest for a language that in appearance is always new, by means of the tendrils of his various means of expression.

    Alain Saverot's works never stop. The artist can always come back to them and recreate them, to give them the language that has evolved inside him since the last brushstroke on the canvas. So Saverot's works travel with him through his life. Even when they have been filed, even when they are temporarily finished, they can be recovered. Like his paintings that are never immobile, Saverot also creates painting in movement, that vibrates in video with his plastic vision of the world. Videos that have no story to tell other than the taming of time...

   Don't miss the opportunity to see and hear this gallery echoing with several artistic languages. After all, Alain Saverot's name spells out the word ART.

    Vychovalá, Bratislava (2001)

And 5 hidden photos further on…including one of the "Mona Lisa" (2001)… The lady of …ah ?…his lady of…(what does that mean ?) and after…...

A quest for "cosmic representation"...

    Painting can be superficial and limited to representation of real, precise subjects. It can be a simple reproduction of the visible world.
     Without making a value judgment on this aspect, I can say that this does not integrate my vision. Because painting, for me, should express the human being in all his depth, his essence and his mystery. It should relate human emotions and sensations that the world inspires in all the fullness of their contradictions. Painting is an esthetic representation of the outer world and the inner world.
     A painter is trying to grasp an absolute world, to interpret it, to represent it with his whole heart; with all the strength of his guts. My painting is in no way restricted to the cerebral.
     It takes a rigorous approach, a patient quest. It takes exploration by meditation; reaching out to meet the essence of others by delving into oneself... from my inner being, I can look out to an exterior being. Painting is also depicts an encounter, a point of convergence. Cultures, civilizations and symbols take part. Painting is movement in time and space. The artist's gesture is essential. I work from a distance, on large canvases. This is a dialectic: positions/opposition/extension to a new state of questioning that lets me aspire "plastically", artistically, to elevation: because man's destiny is fundamentally optimistic. Establishing bridges between mentalities and conditions, beyond language, tracing the dynamic of signs and symbols.
    Approaching a state of serenity, tranquillity, wisdom, balance and reconciliation.

     I don't like to tell anecdotes, others do it better than I. I am not a man of appearances. I am not interested in happily following or even criticizing a given school of rt. But I gain enrichment from all sources, without preconceived impressions, from the Occident or the Orient, from countries in the northern or the southern hemisphere, today, yesterday, or the day before. Prehistoric art fascinates me.
     I am not trying to accumulate knowledge, like a professor or a scholar-I am looking for a "primeval force", among the phenomenon I comprehend. Naively, because an artist is always part child.
     Each painting is a moment; it is the image of a quest that will be surpassed. The serene faces, the shape of the eyes in my work, are windows to the soul, of course -- but not the soul of a given individual: a global and abstract vision, a synthesis of humanity. These eyes are looking both inward and to the infinite cosmos. To a point of total convergence, never reached except perhaps by the great mystics (Christians, Moslems, Hindu, Buddhist, and others?) ... Sometimes these eyes meet each other and blend.

     The entirety is only meant to contribute a synthesis of new aesthetics to the great path paved by our skillful predecessors (from primitive art to lyric abstraction) to the "spirituality of art" dear to André Malraux and to Zen calligraphers. To a naive determination to express the Universal Being, or more exactly (and more modestly) the universal being ... the universal soul, that which is common to men of all times and places-black, yellow, white or red. I am not saying, however, that my painting is in any way religious or sacred art!
     Fundamentally my music expresses the same thing. It simply uses another medium: hearing, rather than vision. But the creative attitude, the gut feeling that forces an artist to communicate a secret poetry, to give, is of the same essence).
     This is a "Neo-spiritualism" that began for me in 1984, and then deepened in 1994 after more than 20 years of pictorial groping. This type of research inspires a growing number of artists all over the world, from Africa, Asia, European cultures ... we can name their brilliant Godfather: Vincent van Gogh
     Alain SAVEROT  (Paris, 1998)

Conception and esthetic interpretation
By Hassen BAHANI