"Gaëtan de Séguin casts roles to his anonymous characters, like he would to the extras in a major scene. Now and then some of them break away but only to pass by. Each silhouette reveals itself essential to the balance and harmony of the whole. The artist offers us different perspectives. He invites us to alternatively focus on and off so as to discover either the details of the materials or the whole of his compositions. His colorful and subtle palette fades away behind the pattern. The shades come to life when he uses scratching effects. Hidden scratches then surface in spite of the successive coats.
Gaëtan de Séguin’s painting is all about reserve and shades. It keeps questioning the individuals and his place into the greater scheme."
When the group reveals individuals
"Gaëtan de Séguin paints crowds. His crowds are made up with a multitude of silhouettes, all of them almost identical but also singular. Beings who, by the action of the painting itself, become patterns. Recurrent, haunting, swarming, building a new life, a new being.
Sometimes the silhouette, peculiar and mute, escapes from the crowd but never finds its salvation. On its own, passing by its keens without ever comprehending them.
Multitude and unique, anonymity and privacy, silence and noise. There is a bit of all this gathering into Gaëtan’s painting, a painting of the plural singular."
A painting of the plural singular