Part 1: TS: Before approaching "The Four Pillars of Heaven", in order to tame our gaze, we will take advantage of getting rid of the prejudices linked to a Western culture dominated by the double influence - one reinforcing the other - of Platonic philosophy and Judeo-Christianity. For the universe proposed by Jean-Pierre Sergent frees itself from the binary appreciations which are so familiar to us and on which our judgments are based, of the autochthonous and the exotic, of the archaic and the modern, of good and evil, of Truth and heresy, of white and black, of light and darkness. We will thus have to abdicate our proud temptation, even arrogant, to "think to know", to classify, to rely on our first certainties, or, worse still, on our beliefs and their procession of irrationalities. The work needs to be apprehended with a fresh eye.

PART 2: TS: Before approaching "The Four Pillars of Heaven", in order to tame our gaze, we will benefit from getting rid of the prejudices linked to a Western culture dominated by the double influence - one reinforcing the other - of Platonic philosophy and Judeo-Christianity. For the universe proposed by Jean-Pierre Sergent frees itself from the binary appreciations which are so familiar to us and on which our judgments are based, of the autochthonous and the exotic, of the archaic and the modern, of good and evil, of Truth and heresy, of white and black, of light and darkness. We will thus have to abdicate our proud temptation, even arrogant, to "think to know", to classify, to rely on our first certainties, or, worse still, on our beliefs and their procession of irrationalities. The work requires to apprehend itself with a new glance.

TS: We are also struck by the total appropriation of space that the artist reserves for himself; the graphics occupy the entire surface of the panels, invading it, constantly soliciting our eye, leaving us no white space, no area of emptiness on which we could, for a moment, rest. The tension is permanent. 
This exploration is not limited to surprises, it constitutes a real initiation, a journey intended to bring us closer to the painter as a passer-by, to get closer to the mysteries of his creation, to share parts of his universe. The confrontation, the telescoping - or rather the dialogue - of symbolic elements coming from different cultures, realized at periods sometimes very far from each other, surprises our eye not used to such a diversity.