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Result of the research : 'accident'
Dreamtime
"To capture form for the eternity: that is the requirement of beauty but also that of a memory, because formless is elusive-immémoriable...
Milan Kundera "Slowness"
For Aborigines, the Dreamtime is the era preceding the time. A kind of our "Genesis".
Valérie Rauchbach creats as lives, Mnemosyne, in this poetic time "chaos", which inspires the cosmogony perception of matter and its "survival"
The choice of material is not accidental: the sand chosen for its metamorphic qualities;
It contains grain, sometimes fluid up to the intangible, its colour varies from white to tan from red to green, to black volcanic;
Also chosen for its symbols, anecdotal, allegorical, holistic
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A substance thick, granular, scratched, stratified, "said the front.
Sol drowned light, mist, rises like a wall, taking the entire field of
vision. Looking at first sight is lost to finally hang on the points of
color, the accident area, the instruments landslides have left their
traces-signs.
Anchorages in which the wall switches and opens on original landscapes, each time rebuilt by the observer.
Leaving aside the matter when asked figuration takes shape until vertigo led by the leak.
Patrick S. Naggar is in keeping with Degottex, Marfaing, Soulages,
where the gesture is being built between full and empty, where light
filters and organizes space, where black caught.
Patrick S.
Naggar uses the material to open the abstract field of verticality to
bring us into landscapes, our internal landscapes of meditation.
150 x 150 cm
2007
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A substance thick, granular, scratched, stratified, "said the front.
Sol drowned light, mist, rises like a wall, taking the entire field of
vision. Looking at first sight is lost to finally hang on the points of
color, the accident area, the instruments landslides have left their
traces-signs.
Anchorages in which the wall switches and opens on original landscapes, each time rebuilt by the observer.
Leaving aside the matter when asked figuration takes shape until vertigo led by the leak.
Patrick S. Naggar is in keeping with Degottex, Marfaing, Soulages,
where the gesture is being built between full and empty, where light
filters and organizes space, where black caught.
Patrick S.
Naggar uses the material to open the abstract field of verticality to
bring us into landscapes, our internal landscapes of meditation.
150 x 150 cm
2007
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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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.. 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 (
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