AB-CC-1971-006 — Organic Weaving (1971)

Technical information

Title : Organic Weaving
Date : 1971
Technique : Oil on canvas
Dimensions : 102 × 83 cm
Location : Unknown

Biographical / historical context

In 1971, at the heart of the CC cycle, Breuillaud occasionally shifts his focus from magma and thermal violence toward the way life assembles itself: networks, filaments, points of consciousness, structures in formation. Organic Weaving belongs to this more analytic vein, like an inward observation of the making of a body‑world. The canvas retains the year’s characteristic red‑orange heat, but uses it as a matrix of emergence rather than an infernal scene; the focus is on the self‑construction of a tissue, cell by cell, until a barely legible containing figure begins to appear.

Formal / stylistic description

An incandescent red bath occupies the entire field, radiating like a nutritive substance. Over this layer, a central network of pale forms—pinkish whites, milky yellows, pearly tones—branches and intertwines: semi‑transparent torsos, filament‑like limbs, unstable heads, bodies melting into one another with no clear boundary. The composition keeps a vertical orientation, but the rise is gentle: forms seem to stretch and aggregate rather than fall or explode. Eyes appear intermittently in unexpected zones, in the hollow of a curve or on an outgrowth, like points of consciousness scattered through the mesh. On the left, a larger profile, revealed by transparency, can be sensed; it functions less as a character than as a welcoming membrane, a silent container enveloping the inner weaving.

Comparative analysis / related works

The painting sits at the junction between the great red compositions driven by violent dynamics and the more operative scenes in which genesis is treated through gestures and manipulations. Here action recedes in favor of structure: the work describes an organism weaving its own architecture, in a continuity of filaments and metamorphoses. The transparencies and the fineness of the line recall certain graphic explorations from late 1970, but the matricial red chroma and the appearance of indicative eyes fully situate the painting within the CC micro‑cycle of 1971, where life is conceived as a network rather than a mass.

Justification of dating and attribution

The 1971 dating is reinforced by the use of red‑orange as a matricial milieu, the introduction of pearly translucent forms, and the predominance of a fine drawing that acts as the skeleton of the weave. The balance between the warm ground and the delicacy of the filaments, along with latent faces and dispersed eyes, corresponds to the moment when figures shed the heaviness of the MP4 years while remaining attached to an organic substance that is still warm. These characteristics firmly place the work in the heart of 1971.