A musician and a painter of Spanish origin, Jean Pierre Rodrigo was born in Brive (France) in 1947 and has been living and working in Cahors (France).

In 1976 he took up painting concurrently with his musical activities. Italy and Spain, architecture and archaeology, literature and painting have inspired most of the themes tackled under a great variety both of forms (series, suite and variations on a theme) and of materials (acrylic paint on paper, canvas and wood and since 2003 sculptures and ceramics)


What Jean Pierre Rodrigo’s paintings and sculptures represent never meet our eyes as such... The initial motif never fits its description, but isn’t a perpetual pretext to endless repetitions either... Better than a given permanent feature, the motif acts as a disconcerting basic structure.

(...)The discrepancy between the way the subject is dealt with and its declension in series – its qualified functionality, in other words -- makes it clear that it would be highly thoughtless to believe that what we see tallies with an approved truthfulness.

Things are not happening where they can be seen...

Rodrigo’s disruptive rhythmic dexterity offers visual instruction only in so far as it triggers the viewer into going beyond those inexpressibly faithful sketches, behind those paradoxical unlikely reproductions handed out as the result of an extraordinary experience…”

(Luc Rigal, Mars 2009, in La non équivalence de Jean Pierre Rodrigo, extraits)

In Jean Pierre Rodrigo’s works“Architecture is the constant, unavoidable referent, but as a concept one must insist on its open, intuitive, unsettled character. It lingers on, de facto, as a substratum, a founding idea,  a framework of subconscious references (…) The approach to themes is highly emotional, their realization fairly often proves to be gestural and verges on expressionism.

Drawing is the protagonist of quite a number of his paintings...

Colours are generally austere; natural tones prevail like ochre, sienna or brick red, with the colour White and the black line being used as counterpoints.

A basic feature of the artist’s morphological language, the colour White delimits, defines divides in sequences; thus creating breaks in the process of immediate reading, allowing breathing, inserting pauses, parentheses as necessary here as rests in music.

What Rodrigo means to evoke are the fragments of an itinerary, the episodes of memory, weaving a deep emotional, passionate and poetic web”.

(Raquel Medina, Docteur en Histoire de l’Art, critique de l’ACCA – AICA, Exposition Tarraco series / Italiques, Museu d’art modern, Tarragona 1999)