Gnidzaz is born in 1947 in Toulouse.
Jean-Michel Gnidzaz we especially know bi and three-dimensional abstract compositions that marked his work in the 1990 Making use of collage games and folding single sheets of paper, rigorous geometric arrangements of directly effective color contrasts, the artist then revivifiait kinetics on a tradition unspectacular fashion. Jean-Michel Gnidzaz thus inspired the conceptual essence of the work of Soto rather than their tendency to gigantism, and refused the sanitized accuracy of other painters of the kinetic movement in favor of a personal touch restoring an essential gesture at a certain performativity of painting. Through his research, Jean-Michel Gnidzaz was able to produce a strong work, able to stand out with impertinence of figureheads who staked his training at the School of Fine Arts in Toulouse and the beginnings of his artistic career.
After a decade of reflection devoted to geometric compositions, Jean-Michel Gnidzaz breaks today with the pure abstraction, and a new direction in his work. Since 2003, he initiated a new series of portraits dedicated to the cultural icons of the twentieth century. Struck by the persistence in the collective unconscious of certain images or photographs of major cultural figures of the twentieth century, in particular those facing rebellion synonymous with the established order, Jean-Michel Gnidzaz questions here their iconic status.
Neutralizing the background of the original photograph, recomposing the portrait from two games and trichromatic, flat tints and alternating colored stripes reintroducing some kinetics, he deprives these incunabula of contemporary history of identification too immediate.
So aside for a moment of consensus, respect agreed that their reserves usually these popular idols found some ability to belabor the viewer. The process grows to take a quick historical perspective to evolve our questions: what today would mean the beades, James Dean, or even Coluche in our society; what place they occupy in the minds of future generations; they escape the decorative status to which the commercial exploitation of their image relegated them? No, not yet have the answer, but the work of Jean-Michel Gnidzaz questions wisely.
This new series of portraits, and the flood of questions it raises arise fail as a new milestone in his artistic career and makes us curious to future developments.