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Delectable Images of Michael Cheval

The images cast a spell on you the very moment you see them . . .
Supernatural magic suffuses his paintings. Cheval’s artwork conjures visions of supernatural spheres, doorways into parallel realities, and glimpses into absurdist theaters.
To Cheval, absurdity is a “game of the imagination, where all ties are carefully chosen to construct a literary plot.” In addition, he says that absurdity is “an inverted side or reality, a reverse side of logic.”
The eye must adjust to the picture object-by-object as it simultaneously takes in a new chessboard of reality.

Despite the illogic pervading the works, there is a coherency of representation. The heightened realism reminiscent of 17th century Dutch art does just that—the precision knits our illusions together to such a degree that we see Cheval’s paintings as actualities playing out in another dimension. We are engrossed in our games and our imaginary worlds.
Gravity or the lack thereof plays a large part in Cheval’s parallel realities. Objects often do not obey gravity.

In his essay, “Abusurd Intacta,” Mark Gauchax writes: "Instead of relying on cultural sources, he (Cheval) explores deep motives of unconsciousness that are easily understood because they are universal, regardless of one’s geography, experience or knowledge. His paintings lead their independent life. Outside of time and space, this artist spends too much time communicating with specters."
The few cultural and historical references we have in Cheval’s paintings, 17th century dress, courtly figures, jesters, are all jumbled. The narrative is not linear; as Gauchax writes, the paintings cut through historical time and the probabilities of space. What we connect with, then, what we make sense of, is our own subconscious.