Commentary

		AU CENTRE LE BLEU (1985) A decree of Elias Canetti seems to shine a light on this picture 0f P.G.: "As soon as the mask is there, nothing more presents itself that can be a beginning, nothinmg more that is a formless ignition. The mask is self-evident, it expresses something well-defined, no more, no less. The mask is rigid: this precise expression does not change."
		LA PENSEE (1985) This pastel underlines P.G.'s pictorial consistency. As Fritz Billeter has indicated in his preface to the monograph on the artist (ABC Verlag), "the faces, often drawn in 3/4 profile are not wearing masks, they are masks."
		SANS APPEL (1988) Despite the title, this pastel reminds us that, with P.G. the work is never simply "executed". By way of long and patient work and an almost benedictine elaboration, this pastel shows the artists need for a meditative approach. In a particular way this slowness and extreme concentration become a real metaphysical excersize
		MEMOIRE II (1989) As we see quite often with P.G., this pastel on canvas shows us two converging ways of working: the way of thinking with one's head and the way of thinking with one's hand on paper or canvas. Strangely enough, the more the artist digs deeply into his inner depths, the more he accumulates layers on the surface of his work.
		EN LUMIERE (1991) Color has really taken over with P.G., as this pastel demonstrates. Background and foreground lock together completely, resulting in a "work of diligence", because it comes to us from total engagement.
		DUO (1992) The couple, the mask and the face, the sentry and his witness: P.G. often deals with duality, as is shown in this pastel. It's as if, somehow life was doubled, continously pledged, if not to dialogue, then at least to conversation.
		IlS SONT (1993) As this large scale (200 x 150 cm) pastel on canvas shows, like with many works of P.G., painting is a kind of fuel which is continually consuming itself, and yet is always beginning again, like the sea. The work, in short, becomes self-sufficient, sealed almost as if in a cathode. Taken up in this intense form of self nourishment, the artist is obliged to advence in the existential space that surrounds him.
		AUBE (1993) Working enclosed for thirty years within the space of painting, P.G. seems to be stuck in a profound inner exole. In this pastel on wood, the painter is trying to get beyond the stage of your basic daydreamer, without, of course, falling into the simple fabrication of scenery. In "painting against", he paints just as much "for", in adapting himself to Kandinsky's famous "inner necessity".