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French Artist Jean Charles Blais Uncovers A Roman Stone In His Studio

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French Artist Jean Charles Blais Uncovers A Roman Stone In His Studio

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Jean Charles Blais finds a hidden treasure in his studio

Jean Charles Blais, the renowned Support/Surface artist based on the French Riviera, has made a remarkable discovery in his Vence studio, located in a historic chapel. Hidden beneath plaster during repairs for a water leak, Blais uncovered an engraved stone dating back to between 100 and 300 A.D.

A Hidden Message

The stone, inscribed with the Latin phrase ‘CONIVGI ET VALERIAE APRONIAE’, was found within the chapel on his property in the hills of Vence, an area once home to the ancient Roman colony of Vintium. Blais, who has owned the property for 35 years, was astonished to uncover this piece of history beneath the surface.

Upon closer examination, Professor Roger Tomlin, an expert in Late Roman History at Oxford University, identified the stone as a fragment of a funerary epitaph. Likely part of a series of three stacked stones, the inscription refers to a husband or wife and mentions a person named Valeria Apronia, who may have been the daughter of the deceased.

A Clear Clue

The term CONIVGI, meaning spouse, is gender-neutral, highlighting the importance of context when interpreting its meaning. Stéphane Morabito, epigraphist and Deputy Director of Culture and Heritage at Métropole Nice Côte d’Azur, confirmed the inscription’s authenticity and its dating to the Roman period.

Additionally, he also emphasized the significance of the name Valeria in the region of Alpes Maritimes, where Vence is located. This area’s rich historical heritage is reflected in the discovery of around ten similar inscriptions, often connected to the Valerii family.

Art Blending With Reality

This incredible find aligns with Blais’ artistic vision, which has long been inspired by ancient forms and historical references. Known for his work with public visuals, such as posters and advertisements, Blais explores the passage of time by layering printed images, often evoking connections to the past.

He describes his process as one of “painting and removing layers of paper to reveal and transform what is buried.” For Blais, the permanence and insistence of ancient forms take precedence over the appearance of newness, an approach that resonates deeply with his stunning discovery in Vence.

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