Paintings and Reliefs

My work oscillates between two areas in parallel: the traditional painting on a flat support and the volume.

For some years, I have been producing a painting series Untitled as well as a series of objects Reliefs. Two-dimensional paintings and three-dimensional objects responding to each other, creating echoes.

The relationship between the plane form and the volume is very important during the phase of cutting the forms from paper; essential to the creation of all my pieces. It results from an intuitive need to experience space.

 


The compositions realized with cut paper play the role of preparatory sketches for the painting (Untitled series). Using the stencil and the roll I achieve a rendering close to that of the printed images.

 

My recent work leans more and more towards geometry. The forms, linear and rhythmic, multiply and create groups, piles of lines or ribbons.

The superposition of these features, more or less regular, monochrome and translucent, create in convergence points new chromatic values ​​or new colors. Forms merge, create knots, moments of tension ...

In search of the border between balance and imbalance, static and movement, visually these compositions seems very fragile, on the point of falling like the spillikins game.

 

 

In Reliefs I take up the question of opening a flat image's limits to other dimensions.

It is still the paper-cut compositions that at this time I transform into volumes. There is a common place between flat images and spatial forms, such as Eduardo Chillida's Gravitations - a work halfway between painting and sculpture.


In the Reliefs realized between 2012 - 2016 I first replaced the paper or canvas of my paintings by a tiny wood board. Next, I literally deepened the dissociation of the background and the form of my images, cutting out the form from the background and hanging it a few centimeters from the wall.

The forms hover on the wall which in turn becomes the new background.

 

In the recent Reliefs I fixed two pieces of wood board one on another. Thanks to an optic illusion effect its cut form refers to a fully volumetric object seen in perspective, while actually it is planar. The traditional linear perspective slightly distorted causes a visual game questioning the spectator about his perception.


The connection in my search of these two types of work, in two and three dimensions; results from a questioning of the nature of space, strange, and difficult to locate between physical and mental space.

©photo : Anne Loubet