Not symbolic green.
Geological green.
The monumental PES canvases currently being developed on the Côte d’Azur do not begin with compositional color choices.

They begin with material tension.
Pigment selection is not an aesthetic decision.
It is the activation of geological memory.

One pigment in particular has become central to the current phase of PES:
Terre Verte Nicosia
In traditional painting systems, green earth often functions as background, landscape, atmosphere, or symbolic reference to nature.
Inside PES, Terre Verte Nicosia is stripped of metaphor.
It behaves as unstable geology.
A mineral field balancing:
erosion,
cobalt tension,
oxidation,
vegetal residue,
and emotional sediment.
The color no longer represents nature.
It generates pressure.
This transformation required a complete reconstruction of the painting surface itself.
Traditional white gesso creates neutrality.
Inside PES, neutrality is rejected from the very beginning.
The new ground structure:
PES Valencia Gesso - Verte Nicosia
integrates raw mineral tension directly into the foundation layer before the first gesture appears.
The surface is therefore never blank.
It already remembers.
It already carries instability.
It already functions as living terrain.

https://youtube.com/shorts/tB4sMMH0h4U?si=jco7iVRaLjlbEiyL
Painting on such a surface no longer means covering empty space.
It means entering into dialogue with an active geological structure.
Subsequent layers - constructed through:

PES Terre Vivante - Emotional Pigments,

PES Organic Tempera System,
walnut oil oxidation,
Mediterranean pine resin,

and citrus-resin mediums

exposed to Riviera sunlight -

do not simply lie “on” the image.
They grow from it.
Within PES, light also ceases to function traditionally.
It no longer illuminates the painting from outside.
It penetrates translucent resin structures such as:
PES Mediterranean Amber - Resin Gloss System

PES Mediterranean Amber - Resin Satin System

before colliding with unstable mineral surfaces like:
Terre d’Italie,
Brun Cassel,
Terre de Provence,
and Terre Verte Nicosia.
The result is not mere optical effect.
It is activation.
The image changes density depending on:
solar angle,
temperature,
atmospheric humidity,
and the duration of light exposure.
The painting begins behaving less like an object and more like a climatic organism.
Inside PES, painting is no longer representation.
It becomes material emission.
The work does not illustrate emotion.
It physically generates emotional tension through matter itself.
This is not nostalgia for historical techniques.
Nor is it decorative ecological romanticism.
It is the search for material truth.
A condition in which pigment, resin, oxidation, sunlight and time become inseparable from emotional structure.
Within PES, color can no longer be reduced to appearance.
It becomes geological tension made visible.

Alain Polanski / SIR POL
PES - Parallel Emotional Systems

Why PES Paintings Are Not Signed on the Front

In most contemporary painting, the signature functions as a final gesture of ownership.

A visible confirmation of authorship placed directly onto the image surface.

In PES — Parallel Emotional Systems — this logic is intentionally reversed.

The front of the painting must remain an active perceptual field.

Not a branded object.

Not a closed composition.

A visible signature interrupts the emotional structure of the image.

It introduces identity where the painting should remain unstable, open and processual.

For this reason, PES works are signed exclusively on the reverse side.

The back of the painting is not secondary.

It is another layer of the work.

This hidden zone contains:

the title,

dimensions,

technical structure,

identification code,

seals,

authentication marks,

and traces of the process itself.

The reverse side becomes a place of memory and material continuity.

Recently, I began constructing these reverse structures using:

gesso,

gold surfaces,

archival markings,

holographic authentication labels,

and hand-painted MPL symbols (Mon Petit Louvre).

This is not packaging.

It is not administration.

It is the final ritual of stabilization.

In PES, the painting does not end at the visible surface.

Its hidden side continues the emotional architecture of the work.

The image remains open on the front.

Identity moves behind the structure.

— Alain Polanski / SIR POL

PES — Parallel Emotional Systems

PES does not illustrate emotion. It organizes perception. It treats artistic experience as a dynamic system rather than a static object.
From this perspective, the Côte d’Azur becomes more than a geographic location. It becomes a cultural interface — a space where historical artistic migration meets contemporary interdisciplinary creation.
The cultural expert is therefore not only a facilitator of exchange, but a producer of relational structures between cultural memory, artistic languages, and contemporary perception systems.
This shift defines a new cultural model: not representation, but connection.

Piotr Lulkowski
Expert Culturel pour Côte d’Azur
Association Français-Polonais MON PETIT LOUVRE

Contemporary art no longer exists only as image or object.
It emerges as a system.
My work develops within a conceptual framework I call Parallel Emotional Systems (PES) — an approach that explores how emotion, memory, and perception interact to generate visual form.
In this context, a painting is not a representation.
It is a state.
From Emotion to Structure
Every work begins before the visible.
An emotional impulse — often undefined, unstable — initiates the process.
This impulse does not seek illustration. It seeks transformation.

Through layers, gestures, and material interactions, emotion is translated into structure.
Not fixed, but evolving.
PES is not about expressing emotion.
It is about constructing systems where emotion becomes spatial and perceptual.
The Painting as a System
In Parallel Emotional Systems, each painting operates as a dynamic field.
It contains:
tensions between layers
interruptions of continuity
fragments of memory
shifts in perception
These elements do not resolve into a single meaning.
They coexist.
The viewer does not “read” the work.
They enter it.

Process: Matter and Perception
The act of painting is not linear.
Material resists.
Time intervenes.
Decisions dissolve and reappear.
Varnish, surface, depth — these are not technical stages.
They are perceptual thresholds.
Each layer modifies not only the image, but the way it is experienced.

In PES, process is not hidden.
It is embedded.
Beyond Representation
Traditional visual language often aims to depict.
PES moves away from depiction toward construction.
What is constructed is not an image of reality,
but a system through which reality is perceived emotionally.
The work does not explain.
It activates.
A Continuous System
Parallel Emotional Systems is not a series.
It is an evolving structure.
Each work connects to another, not through style, but through internal logic.
Emotion does not disappear after the painting is complete.
It remains active within the system.
Conclusion
Art, in this framework, is no longer an object to observe.
It becomes a space to enter.
A structure to experience.
A system to navigate.
PES — Parallel Emotional Systems
is not a definition.
It is a field of exploration.

Explore the work:
https://www.artmajeur.com/alainpolanski

#art #contemporaryart #digitalart #conceptualart #visualart #painting #arttheory #emotion #perception #pes #alainpolanski #ParallelEmotionalSystems #PES

#philosophy #philosopher #monpetitlouvre #SIRPOL #PiotrLulkowski #AlainPolanski #

#art #artist #France

À l’invitation de la Ville de Saint-Raphaël…

Ces cérémonies s’inscrivent dans le cadre des commémorations nationales organisées chaque année en France pour préserver la mémoire des victimes de la Déportation…

représentée par Monsieur le Maire Frédéric Masquelier, Président d’Estérel Côte d’Azur Agglomération, et le Conseil Municipal, une série de cérémonies commémoratives a été organisée à l’occasion de la Journée Nationale du Souvenir des Victimes et des Héros de la Déportation.
L’Association Français-Polonais MON PETIT LOUVRE y était représentée par son Président, Piotr Lulkowski (SIR POL), accompagné de Małgorzata Czarnecka-Opalińska, Directrice Artistique, suite à l’invitation officielle adressée par la Ville.
VEILLÉE DU SOUVENIR – SAMEDI 25 AVRIL 2026
La première cérémonie s’est tenue le samedi 25 avril 2026 à 18h30, au Square du Souvenir Français à Saint-Raphaël.
Cette veillée, de nature plus intime et contemplative,

a réuni les participants dans un moment de recueillement et de silence dédié à la mémoire des victimes de la Déportation.
Dès notre arrivée, nous avons été accueillis

par les organisateurs et les représentants institutionnels présents, dans un esprit de respect et de transmission mémorielle.

CÉRÉMONIE OFFICIELLE – DIMANCHE 26 AVRIL 2026
Le dimanche 26 avril 2026 à 09h30 s’est tenue la cérémonie officielle de commémoration.
Cette seconde journée, de dimension protocolaire et institutionnelle,

a rassemblé les autorités municipales, les représentants du monde combattant ainsi que les participants invités.
Monsieur Olivier Spinnhirny,

Adjoint au Maire délégué à la Jeunesse, à la Citoyenneté et au Monde Combattant, assurait la représentation officielle de la Municipalité et la présidence des cérémonies.
Lors de ces deux journées, des échanges ont eu lieu avec les différents acteurs présents, dans un cadre de transmission de la mémoire historique et de responsabilité culturelle contemporaine.
DIMENSION CULTURELLE ET DOCUMENTAIRE
Dans le cadre de cette participation, un reportage photographique et vidéo

a été réalisé sur l’ensemble des cérémonies, ainsi que sur des éléments complémentaires liés à des actions commémoratives précédentes, notamment au Jardin Arménien.
Ces documents ont vocation à être transmis aux autorités concernées afin de contribuer à la conservation et à la diffusion de cette mémoire collective.

LINK YOUTUBE

https://youtu.be/swXr-ogpSeE?si=j056V8bEdjCQPaeJ
CONCLUSION
Au-delà de la dimension institutionnelle, ces cérémonies rappellent l’importance fondamentale du travail de mémoire

dans nos sociétés contemporaines.
Elles soulignent également le rôle des acteurs culturels dans la transmission, la sensibilisation et la préservation des récits historiques.
L’art, la culture et la mémoire se rejoignent ici dans une même responsabilité : celle de ne pas oublier.

Piotr Lulkowski (SIR POL)
Président – Association Français-Polonais MON PETIT LOUVRE
Expert Culturel Côte d’Azur

From the reflections of Francis Wolff to the analyses of Paul Audi, through the perspectives of Pauline Nadrigny, the day unfolded as a progressive exploration of music as a field of relations.
This exploration reached its culmination in the live performance of David Grimal, where music was no longer discussed, but experienced directly - as a dynamic interplay between perception, emotion, memory, and thought.

One sentence, however, opened a particular space of reflection:
“Music is between the sounds.”

VIDEO YOUTUBE

https://medium.com/@monpetitlouvre/music-between-the-sounds-toward-an-expanded-thinking-of-contemporary-art-d554245e5394

This idea goes beyond a simple aesthetic definition. It suggests that music does not exist only in sound itself, but in the invisible space that connects sounds - in tensions, silences, expectations, and resonances.

Toward an Extension of Artistic Thinking
What this day revealed is that music cannot be reduced to listening.
It acts:
on the body (rhythm, movement, physical perception)

But above all, it opens a broader question:
where does an artwork actually begin?

From Music to Image: Invisible Continuities
This reflection goes beyond the musical field.
It directly connects with contemporary research in painting, visual creation, and artistic hybridization.
In my own work - between painting, experimental sound composition, and visual research - the same logic appears:
a language where disciplines no longer oppose each other, but extend one another.
Image becomes rhythm.
Sound becomes color.
Matter becomes a mental structure.
Toward a PES Approach (Process - Energy - System)
What we can call here, in an exploratory way, a PES approach can be understood as a transversal reading of creation:
Process - what transforms
Energy - what circulates between forms
System - what connects disciplines
In this perspective, music is no longer an isolated field, but a model for organizing artistic thought.
Opening
This first text opens a series of reflections that will connect:
music
painting
image
performance
and contemporary creation
Not as separate disciplines, but as a single expanded field of perception.
The following articles will extend this exploration through images, videos, and experiences drawn from this day in Saint-Raphaël.

“Music is between the sounds.”

Piotr Lulkowski (SIR POL)
Artiste multidisciplinaire | Expert Culturel Côte d’Azur |
Président de l’Association Français-Polonais MON PETIT LOUVRE

The ceremony gathered elected officials, institutional representatives, associations, and citizens in a shared moment of remembrance and reflection.
Armenian Genocide

Video documentation of the commemoration ceremony (Saint-Raphaël, April 24, 2026):

Official documentation by MON PETIT LOUVRE

This act of commemoration goes beyond an official protocol. It recalls a historical reality of profound significance: between 1915 and 1917, more than one million Armenians were deported, massacred, and systematically erased from their homeland and collective history.
In the face of such tragedy, memory is not merely a moral obligation. It is a human necessity.

To remember is to resist erasure.
To transmit is to resist forgetting.
In today’s world, marked by ongoing conflicts, political tensions, and competing historical narratives, such moments of remembrance acquire a universal dimension. They raise a fundamental question: how can societies live with history without allowing it to disappear?

The answer cannot be solely political or academic. It is also cultural.
Culture — and particularly the arts — plays a fundamental role in the transmission of memory. Where words sometimes fail, artistic forms, images, and sound extend remembrance in another language.

A gesture, a composition, a visual symbol can carry what historical discourse alone cannot fully express.

Within this perspective, memory becomes a living process. It is not confined to the past; it extends into the present and engages the future.

Invited by the City of Saint-Raphaël, Piotr Lulkowski (SIR POL), Cultural Expert for the Côte d’Azur and President of the French-Polish Association MON PETIT LOUVRE, took part in this official act of remembrance, contributing to a cultural approach where memory, responsibility, and transmission intersect.

To transmit is not to repeat.
It is to re-create meaning.
Such commemorations remind us that collective memory survives only when it is shared, embodied, and supported by cultural engagement.
In an age saturated with information, forgetting occurs rapidly.

Memory requires commitment.
To remember today is also to act.

Piotr Lulkowski (SIR POL)
Cultural Expert – Côte d’Azur
President, French-Polish Association MON PETIT LOUVRE

Keywords: Armenian Genocide, memory, culture, commemoration, Europe

FROM RESISTANCE TO STRUCTURE
The first phase of the project focused on painting as an act of resistance — against disappearance, simplification, and cultural erasure.
But resistance alone is not enough.
Art also needs structure.
This is where PES begins.

WHAT IS PES?
Parallel Emotional Systems (PES) is a visual methodology where a painting is not treated as a single image, but as a coexistence of parallel systems operating simultaneously.
Each artwork contains multiple layers that do not merge, but interact.
THE FOUR SYSTEMS
1. MEMORY FIELD
Soft layers, water-based painting, traces, fading forms.
This is the emotional memory of the image.
2. ENERGY FIELD
Gesture, acrylic, contrast, physical expression.
This is the impulse of the body.
3. SYMBOLIC CODE
Signs, fragments, cultural references, simplified icons.
This is the language of recognition.
4. BREAKDOWN LAYER
Scratches, erasure, interruption, material destruction.
This is the collapse of form into truth.
PRINCIPLE OF PES
No system dominates.
A painting exists only when memory, energy, symbol, and breakdown coexist in tension.
WHY THIS MATTERS
PES is not a style.
It is a method of constructing perception.
It allows painting to exist simultaneously as:
memory
emotion
structure
disruption
CONTEXT: MON PETIT LOUVRE
Within the MON PETIT LOUVRE project, PES continues the idea of cultural resistance by shifting it from external narrative to internal structure.
Resistance becomes form.
CONCLUSION
If Cultural Resistance defines the position of art in society,
PES defines its internal logic.
Between them lies the full artistic project.

SIR POL / Alain Polanski
MON PETIT LOUVRE – Parallel Emotional Systems (PES)

There are moments in contemporary culture when artistic practice is no longer only about producing images.
It becomes a question of survival.
A question of structure.
A question of memory.
This is the foundation of the project:
RÉSISTANCE CULTURELLE – MON PETIT LOUVRE
Our approach is directly aligned with the Petit manifeste de la résistance culturelle (BIS 2026):
Notre démarche s’inscrit dans les recommandations du Petit manifeste de la résistance culturelle (BIS 2026).
Within this framework emerges a new artistic cycle:
PARALLEL WORLDS
A series by SIR POL / MON PETIT LOUVRE, where painting is no longer treated as an object — but as a complete process of becoming.
FROM MATTER

The painting begins as construction, not inspiration.
The work starts before the image exists.
It begins with wood.
With resistance.
With physical effort.
Frames are built.
Canvas is stretched.
Nothing is symbolic yet — everything is real.
PREPARING THE SURFACE

Surface preparation as the first act of painting.
The canvas is not neutral.
It is treated, transformed, activated.
Gelatine becomes structure.
Absorption becomes control.
Preparation is not a technical step.
It is already painting.

TIME AND PROCESS

Time becomes part of the composition.
The process requires time.
Drying. Waiting. Exposure to air and light.
The work exists in suspension —
between action and stillness.
Time is not outside the painting.
Time is inside it.
CONSTRUCTING THE WORLD

The surface is not prepared. It is constructed.
Layer after layer, the surface evolves.
Gesso creates tension.
Light emerges from matter.
The painting is no longer empty.
It becomes a field of possibilities.

PARALLEL WORLDS

Each painting is a constructed reality.
Painting appears as a negotiation:
between chaos and control
between gesture and decision
Each canvas becomes a parallel system.
Not representation.
Construction.
Not image.
Experience.

PROCESS AS RESISTANCE
In this project, creation is not separate from context.
The act of painting becomes a statement:
creation as resistance
process as memory
matter as language
Parallel Worlds is not a collection.
It is a position.
FROM PROCESS TO MEMORY

The moment the painting enters time.
The final layer does not end the work.
It transforms it.
From process
to presence
From action
to memory
MON PETIT LOUVRE
This project is developed within:
MON PETIT LOUVRE – Association Français-Polonais
as a platform connecting:
art
process
memory
cultural resilience
CONCLUSION
Parallel Worlds proposes a simple shift:
Art is not what remains after the process.
Art is the process itself.
And in a time of cultural pressure, the process becomes a form of resistance.
Piotr Lulkowski (SIR POL)
MON PETIT LOUVRE
RÉSISTANCE CULTURELLE – Parallel Worlds

Elle est traversée par les tensions du monde — politiques, idéologiques, identitaires.

Et lorsque ces tensions s’intensifient, les artistes

et les écrivains se retrouvent souvent au centre du jeu, qu’ils le veuillent ou non.
L’histoire l’a montré à de nombreuses reprises : le pouvoir ne se contente pas de gouverner. Il cherche aussi à influencer, orienter, parfois instrumentaliser les récits, les imaginaires, les voix.

Ce n’est pas l’artiste qui entre dans le champ politique.
C’est la politique qui, inévitablement, entre dans le champ de l’art.
Dans ce contexte, certaines figures deviennent des symboles — parfois malgré elles.

Soutenues par les uns, contestées par les autres, elles cristallisent des débats qui les dépassent largement.
En tant qu’artiste, il me semble essentiel de garder une distance lucide face à ces mécanismes, tout en assumant une responsabilité : celle de ne pas renoncer à la complexité, au dialogue et à la liberté de création.

Car au fond, ce qui est en jeu dépasse toujours les trajectoires individuelles. Ce n’est jamais uniquement une personne que l’on cherche à atteindre — mais un espace, une parole, une liberté.
Et l’artiste, peut-être, n’est que celui qui se tient encore là, au point de passage.