My big deal with painting is to love painting, not to know how to paint, to invent ways of painting and quickly enough to be able to identify with Western painting. At the age of 23, he began to paint, he definitely left his job as a turner. His training: passion, desire to do. From 1968 to 1973, Jean-Pierre Pincemin launches into glued squares: the canvas is first immersed in a bath of paint, then it is cut and assembled in irregular geometric shapes, square or rectangular. In 1971, Jean-Pierre Pincemin joined the movement Supports / Surfaces movement created in the late 60s. This movement which Matisse was the initiator with his cut papers, is pursued by the new abstraction, the hard edge in the US and in France, by Simon Hantaï or Claude Viallat. The concept of this movement is the physical reality of the painting. At the end of the 1990s, Jean Pierre Pincemin decided to sweep everything away and assimilate all the styles, all the media, all the techniques and all genres. Affected by the disease of arthritis, Jean-Pierre Pincemin creates polychrome sculptures in his image, an assembly of stapled pieces of painted wood. His themes of inspiration also include trees, religious subjects, genre scenes, sometimes erotic and also portraits. Jean Pierre Pincemin becomes the most daring technician, mixing the oil with or without tar, or using other all-personal mixtures. Its supports are the canvas, the paper and also the photographic poster. Jean-Pierre Pincemin was born in 1944. He first worked as a mechanic in the factory. The revelation of the painting takes place in the Louvre, when Jean-Pierre Pincemin visits it for the first time. After having been a critic of Art he conceived his first paintings and sculptures and realized in 1968 his first exhibition. These works are the result of research far removed from the traditional brush painting: folds, brick prints, fences, acting on the canvas as a new material. In 1971, Jean-Pierre Pincemin joined the Supports / Surfaces movement, a movement created in the late 1960s. Throughout his work, Pincemin moved from abstraction to figuration.