The palette of styles is definitely shorter than the idea as a whole. We have way too many things and not enough forms, as Flaubert noticed a long time ago in his correspondence. This is not a reference for Jakup Auce though, he told me about Dark House music instead: he explains to me that he plays long mix sessions by Delroy Edwards in the sound system back at his studio. We usually talk about sounds, and I am not simply relating anecdotes; I could even state that there are two categories of painters: those with ears and those without. Mine are big and I do understand Auce’s explanations of his paintings, even if I don’t seem to.
Dark House is the most suitable music for painting, and Jakup reminds me about the time to wait for oil paint to dry in between layers. The same gap of time for him and for Manet. In 1971, Michel Foucault gave a conference in Tunis about Manet, I recently learnt that his parents were both surgeons. In that conference, one century after Manet, Foucault makes a beautiful, logic and cold analyse. When you arrive to the exhibition of Jakup Auce, you are entering an operating room, and in this short text I will insist in the precise moment chosen by Jakup Auce.
When he sees that I’m leaning towards one of his canvases, he comes to me and pushes me away: “I did pull out just in time”, and we both gently smile when we realise the sexual metaphor. Lets explain here the idea of pulling out, Manet did not paint the fingernails of Olympia. Jakup Auce is playing magnificently with this same definition, and he even claims it when titling his exhibition ‘Lazy Boy’. In what concerns its subject, the universal emotion, this painting should be arranged via algorithms and only exist in reproduction. When in front of Jakup Auce’s paintings, we can notice the artist’s hand, that sometimes stopped, or not, depending on his mood at the time of making; I see temper. And I’m waiting for the algorithms to become temperamental.
