The works of Guy Bigot gathered at the gallery very are characteristic of his second period. While preserving the chromatic range of gray and earth from its figurative period, it evolves towards an “abstract landscape”(1). The rocks, the granite walls, the sands of the coastline become, through a zoom or cutting effect, the elements of a recomposition of the landscape.
This technique is close to collage: Guy Bigot illustrates what each painter feels and experiences: there is no abstraction, it is sampling, purification, projection, memory (2). Each painting projects on the canvas an interiorized and yet familiar landscape, proceeds from a subjective realism that strikes by the harmony of the compositions and the subtlety of the palette.
More broadly, Guy Bigot’s painting is part of the post-war atmosphere of reaction to geometric abstraction, of “weariness of the straight line and the acute angle” (3) which leads to an art of intuition, when the painter discovers that “the eddies of the tree and the bark of the water are parents..”(4). One thinks, without seeing any filiation, of the paintings of Atlan or Camille Bryen.
Beyond the variety of appearances that the landscapes of the Breton coasts testified to in his figurative period, Guy Bigot manages in these latter works to paint the very rhythm of sensation and to restore its pulsation.

Galerie TrES, 3 rue Bossuet, 44000 Nantes, du 19 novembre au 9 décembre 2025.

(1 Dictionnaire Bénézit.
(2) One thinks of Rothko who, in his correspondence, stated: “I have always painted Greek temples without knowing it.”Mark Rothko, Ecrits sur l’art, Flammarion, 2005
(3) L’avant-garde au XXème siècle, Pierre Cabanne, Pierre Restany, André Balland, 1969
(4)Jean Bazaine, Notes sur la peinture d’aujourd’hui, Floury, Paris,1948.