Colour, in Roduits' paintings, is used by accepting objects in their qualifying colour and not by painting the factor of light.

Thus, ridding the colour surface of light and shade, Roduits' composition disorganizes volume and space as ochre yellows push forwards, reds and oranges recede, and other colours being massive stay in the real plane of the canvas.
Because of this strength of colour play, forms emerge from the painting and move out of the canvas, using the edge of the frame as a support.

The spectator is confronted with hovering forms in seas of coloured matter.
Ever present a nucleus, a center, an eye confronting the spectator.

Form, as with Roduits' colour, is for ever changing identity.
The minds eye runs havoc, as the pleasure of pure shape changes from vegetal to a looming face that recedes into architecture that finally rests on the canvas as landscape.

An essential element in Roduits' work is the line.
This takes on another purpose other than being an interstice between space and matter. Roduits' line in black acts as matter itself, usually deep space rather than a defining outline.
The white line is electric, sparking out of the painting.

One witnesses in Roduits' paintings the coming and going of space and matter and the merging of animal and vegetal.
To fall into the world of Roduit is to observe all importance of sameness.

Peta PAPAS

March 1999