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Monique Dollé-Lacour
.. It is obvious that the picture is the back side of the dream ...
What is the material that bends light, makes the world see? Monique Dollé-Lacour deploys before us a series of internal images, memories,
or we can call them fossils. Disappeared images ... the remains exhumed
and then accidentally forgotten ... ... Art is something that has been saved from a death. An yea leads us there, where the music or words lead. Behind the paint,
rather more far than inside, where the connecting between the angles and the curves,
where the dissonance is the mother of all rhythms. The artist tells us that we can not imagine without it: a inner content, which is beyond us. This is something that manages Monique Dollé-Lacour best. She deepens the gulf, she frees up the firstling space, forces balance and rejects the comparison, this exceeds
anything which we have ever faced and at the same time, it does not need a face any longer.
Dominique Grandmont (extracts)
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Monique Dollé Lacour-or wandering shared.
E
Do we know the fate never signs? Contemporary art has always integrates these strange signs,
sometimes identifiable, sometimes sibyllins referring to the deep
questions of the man, his daily concerns. They are the natural
accompaniment of his battle with himself, fighting to live. Traces of adventures individual or collective, they mark,
marking the long march of hesitation, doubts, beliefs of humanity.
These signs across time boundaries. They are as obvious on the works of
today, where they proliferate. From the cavern to the canvas walls of the desert, they will. They are. Chez Monique Dollé-Lacour they came from Africa. Magic
transmutation of passage, the ability to invent. They allowed the
emergence of a language, vocabulary, writing specific. They resemble
nothing, but signs remain. Through them, through them Dollé-Lacour suggests a universe of life, ,savagery and curious appeasement ...
Michel Faucher
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Dollé-Lacour works show her willingness to transcribe the most intimate,
more secrets of nature, that matter as his gaze captures the spirit and
the transforme.De flush out these secrets which nobody believes, these
magical places where the infinitely small is manifeste.La power tar -
material used for black-adds to trouble.Ce strong and dense material
becomes lighter, air integrates a miracle in this or any proposed
fleet, the move comes alive . Here lies the uniqueness of the artist. The signs do not
testify. They live. The multiplicity of ingredients, their variety, add
to the impression of life that emerge from the work. The square format,
the basis of this work, imposes its constraints. The artist seems to
love them. She plans not signs, but his own. Those emerging from his
imagination and shake his thinking. They resemble nothing, their
accumulation, however, reveals a world very particular where everything
seems familiar. There is, as a similarity with certainas travaus
Japanese classics. The artist gives us to see improbable landscapes
which only his mind mastered the complexities. Behind a weakness, a soft apparent, the work of Dollé-Lacour
tells us a world strong, violent and complicated where the accident has
little place, where life-and excessive-organized triumph.
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Thus,
the paint-Dollé Lacour often presents itself to us with a balance in
the centre of the canvas: center composition empty, or with a strong
sign that marks its présence.Tout around, as the arms of a star,
organize points shift: a spot of color that meets a griffure, a paper
pasted, interlacing the whole part of a square base, and cosmological
duel scene. We could stop there, surface only apprehended, we
reassuring these subjects are well known, we reveal a creative
violence. But what our gaze arises in the intervals where the air
circulates and we are caught by the table. The plans will succeed ...
We are in a maze where visual odours and matter are emerging another
land. Dollé-Lacour enters the crucible at the same time that it has
selected elements. The various stages of settling, sublimation
completed, the main thing is there. This memory of another time stands
before us, bright and shiny, common denominator of a sacred space where
the connection finally is revealed.
Jean-Yves Mesguich
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