Born in 1955, one might say that the artistic journey of Pierre Marie Brisson started out with an abundance of raw talent and a stubborn sense of determination thirty-two years ago.
By mounting his first exhibition in his hometown of Orleans, at his own expense, Brisson announced to himself and the world that his was to be a creative life of action rather than a patient, passive career waiting for recognition that might never come.
Brisson, like many creative artists, was blessed in his early years by having his art intoxicate the minds of experienced and thoughtful collectors and dealers who saw great promise in his present and future. His early work displayed vibrant surface gesture and form that traced its roots back to the stained glass fragmentation of Georges Rouault, the playful imagery of Paul Klee, and the automatism of Pierre Courtin, Bram Van Velde, and the Cobra group that included Asger Jorn, Karel Appel, and Pierre Alechinsky.
This is where his art began but not where it was to evolve to in his maturity. It is clear that Pierre Marie Brisson is a representational artist. Like Picasso and Miró before him, Brisson’s imagery can stray far afield, often bordering on abstraction. However, images of reality, even shattered shards of experience, are always present in his work.