Pierre Beloüin

(...) The work of Pierre Beloüin fits into this niche formed by artists who have learned everything, or almost, through musical experience. It is not only because the best known incarnation of the artist is his One Man Orchestra, nor because he has maintained for over 10 years the label Optical Sound (!), nor because he entered the world of art through music, working from the outset on the frontier of the visual and audible. Above all, it is because his work and activities are rooted in underground culture, historically linked in any case, to music.

Underground. The term has been widely over used, to the point that we forget the cultural realities to which it refers, to individuals or demanding art collectives, placing themselves voluntarily on the sidelines the dominant pop scene. Pierre Beloüin continues in his own manner to perpetuate the history of this specific art of the twentieth century. As a connoisseur and fan, he multiplies his tributes. In 2000 he had already consolidated on OS.002, a selection of works composed for the Dreamachine. In addition to Gysin and Burroughs, there is 1950s fetishism, Psychobilly, 1970s eroticism, industrial music and cold wave, B Series, or the universe of freaks. There is also the sportive and super-stylish Austin Healey of Str Crsh, the exotica of the One Man Orchestra V.2, the pin-ups and Milky Woman, complete with all the attributes of a film by Russ Meyer or the paintings by Mel Ramos. And then with Awan-Siguawini-Spemki (2006), he explored the city of Alma and its surroundings (Canada), delivering photographic and sonic vignettes, we cannot help but think of David Lynch and the visual and psychological screening of the mad city of Twin Peaks and its inhabitants, that are just as demented. (...)

Jill Gasparina in catalogue from the exhibition Persistance is All, FRAC Provence Alpes Côte d'Azur, 2008