paradoxical in its joining of opposites, laughter and sadness, lightness and danger - this universe had always attracted Mennessons who saw in it, the image of life.
throughout his life and in his works, this was an attitude that allowed Mennessons to escape with style.
existing as time goes by - it was for Mennessons both happiness and a challenge: to capture its movement on a fixed surface without freezing it.
as a city-dweller, nature for Mennessons was a necessity, a whole in which he felt part of, it is exuberant and civilised, beyond representation.
they became for Mennessons, with the passing of time, the material of choice because of their infinite possibilities and variations and the control of freedom they offered him.
figurative or abstract, mixed with landscapes or tinted with humour, this painterâ€™s mirror disappeared as numbers took first place.
if Mennessons was engaged in a painting, it was there he saw the only way to find the â€œabsoluteâ€ and this was what brought him to exploring various spiritualities; to discover the spirit that animated the human clay.
Mennessons, himself sporty, appreciated the demands of overcoming limits and the world of movement in sport.
journeying through France, Europe and the New World the key element for Mennessons was to retain his sense of astonishment in discovery, the openness of others, internal amazement.