Ladislas Kinjo - Stèle pour Neruda, 1975.

Ladislas Kijno remains one of the most singular, most unclassifiable, and paradoxically one of the least fully recognized figures of post-war French abstraction. Born in Warsaw in 1921 and exiled to France at a very young age, he embodies a primordial tension between uprootedness and rootedness, between nomadic memory and anchoring in a spiritual soil. From the outset, his work turns away from representational painting to embrace painting as a form of combat — a battlefield where invisible forces clash, where matter wrestles with itself, where the density of silence confronts the fury of gesture.

Initially trained in philosophy — notably under Jean Grenier, mentor to Camus — Kijno soon chose painting as his true field of action, not as a style or language, but as an existential and almost mystical ritual. He belongs to that generation of artists emerging after 1945 — such as Soulages — who moved beyond figuration to explore a new kind of painting, not as a gaze upon the world, but as a friction, a bodily immersion, a living material. Yet Kijno was neither a follower nor a twin soul of Soulages. Where the latter built his work upon the gravity of black and a quasi-liturgical rigor, Kijno carved a more baroque, more cosmic, more incantatory path. He worked less through restraint than through excess, less through geometry than through flesh.

This pictorial flesh is what he invents through his most radical technique: crumpled paper. Beginning in the 1960s, he introduced this medium as a living organ — no longer a neutral surface but one already marked, woven with folds, scars, and resistance. Kijno does not caress the paper: he maltreats it, bruises it, transforms it into a palimpsest-like skin. And on this skin, he applies not a brush, but a breath — the aerosol spray can, which he was among the very first to incorporate into a fully developed pictorial language. Long before the rise of street art, he understood the spray not as a tool of social rebellion but as a liturgical instrument. With Kijno, the spray can does not vandalize: it sanctifies. It diffuses color like incense, emits halos, creates irradiations, as if the work were breathing from within. In this ability to merge humble materials with cosmic vibration, Kijno joins the great inventors of 20th-century visual languages.

Yet more than his technique, it is his relationship to the spiritual that elevates him. Kijno paints the way one prays — not according to the dogmas of any established religion, but through the organic fervor of a mysticism without a church. He is traversed by the Kabbalah, Gnostic texts, Greek philosophy, and ancient myths. Each painting becomes a reversed icon, not opening toward the heavens, but turning inward toward the incandescent core of matter itself. He seeks not vertical transcendence, but the immanence of a world made sacred in its very materiality. In this sense, he shares a deeper kinship with artists such as Zao Wou-Ki, Henri Michaux, or Georges Mathieu than with the practitioners of cold geometric or constructivist abstraction. He is a mystic of matter, a shaman of pigment, an alchemist of chaos.

His relative obscurity today is all the more perplexing given that his work possesses every quality that should have secured him a central place among the major figures of European abstraction. But Kijno consistently rejected affiliations, cliques, and compromise, choosing inner marginality over alignment with any system. He was championed by a few visionary critics — Jean-Pierre Jouffroy, Michel Random, Georges Boudaille — but left aside in the dominant narratives of modern art. Perhaps because he fit neither the discourse of pure avant-garde nor the institutional canon. Perhaps because his work, imbued with mystical intensity, ran against the grain of contemporary thought.