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jessica moritz
Not far from the discussions of the white cube and other explorations of pictorial space, between the workshop and the wall of the beholder, we often forget that the space of creation is itself the first echo in the paint.
Four walls will never tell you that you are wrong.
The creation of space around you are ultimately the pillars of a color or its absence.
After exploring this orderly field of view and also without limit, I approached the wall, ornament, its about.
I realized that the wall still had a lot to say. Although by far the 4 walls can seem reducing, I wanted to believe that we could dig there, and that everything could get out.
As if the confinement was confire images.
An imaginary slippery overlay on a wall, a memory spanning the inevitable verticality to eventually become a performance.
What (s) difference (s) can be made between the image and the painting?
The intention?
Duplication?
The destination?
Pop art has partially solved these issues too minimalist, but the debate remained open since there is always painters, right?
In this research I again interested in those artists who have "caused the walls": Warhol, Tapies, Robert Morris, and many more ...
At first, I wandered into the studio, I drew a lot..
I wanted to go back to simple basics. I took geometric patterns, floral patterns, simple icon images, and collective memories.
I've never had as intention to be realistic, or revolutionary. So I borrowed wallpapers, explored the grounds. First I wanted to copy, but I understood that duplication would bring nothing.
I then erase pieces, I created new breaths.
I have distorted, enlarged, crossed out.
I then saw the emergence of new ideas, forms escaping the pattern, made him pass for a landscape.
Finally when you are facing the wall, if you have a first plane, the wall becomes a skin.
If it is valid for a photo, why should this not be a painting?
The pictorial space is not a scheme to respect scrupulously. We can build, destroy, remove, change ...
The pattern has always been an interesting medium because duplication allows to combine figuration, work color, composition of simplicity, symmetry. The drawing is simplified, there is the essence, the line. the choice of images uses the memories, collective memory, run Pavlov's syndrome and let it go.
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