The stages of his oeuvre

New figuration

Eroticism is obviously his driving and living force. The movement of moral emancipation was then unavoidable. For a long time, I have wondered how to express the dark zones brought to light by Freud. Of course there was the example of Bellmer but I missed boldness then. With years and evolution, I have become bolder. Finally, I have painted what I feel like painting.
G. Collignon, 1978

Georges Collignon, enriched (plastically speaking of course…) by the abstract adventure that he abandoned step by step from 1966, greedily makes an inventory of all techniques and materials: colour set in the impressionist, tachist or hyperealistic ways, collage of golden and silver foils, old lace, paintbrush or airbrush, smooth and rough, brocade or coarse canvas, leather or the finest lingerie, as well as the coldness of metal and the warmth of the skin.
J. Parisse, 1980

After the COBRA experience, Collignon closed the abstract circle with successive steps and that led him to the reappearance of too long restrained images. He is now drawing, inspired by a jumble of anecdotes in the gear of imagination and “pop” art.
J. Pigeon, 1980

He was awarded Prix Hélène Jacquet in 1952 and dreamt some time of mixing figuration and abstraction. But he got beyond that stage. He now assaults everything. He can allow himself everything. His professional self-assurance is such that he can besiege whatever district of painting that he likes to. Jovial eroticism that only belongs to him, different from Delvaux’s, Marat’s, Balthus’ and from whomever you want.
J. Pigeon, 1982

The main feature of this artist is his need for ongoing renewal and his love for meticulous work. His painting however, always in evolution, never departs from the previous achievements. His work is indeed remarkably coherent and makes us aware of a logical continuity within his production.
N. Franckx, 1984

>>Works