When we look at a Geormillet's work, we immediately perceive that something is painted underneath, something whose trace has been meticulously preserved, although readability is, most of the time, fleeting. Geormillet, paints his memory of Italian frescoes, his sensitivity for foliage, his envy for birds, all those things that are always under painting. Curiously, at least in the very first experiments, it is only after having perceived these traces of a painting underneath that one really looks at the top: other traces, at first sight more ordered, realized by the Impression of the same form, generally square, coated with paint, most often white. Suddenly, we discover the whole, the hypothesis for the look of seeing everything at the same time, to place everything in the same plane of the painting, even if, from one painting to another, the distance between the top and the below, the thickness of the space implicitly suggested, are variable ..

Jean-Philippe Vienna