This realization brings out the relationship between shadow and light, figuration of the body, but also gesture and trace. In the register of the representation, it gives to see the notion of trace, taken in the first sense, but also in the metaphorical sense – imprint or mark left by someone or something, relation to the presence and the absence, report to the memory … on the plastic, iconic and semantic level.

Drawing the gesture and the material, the trace appears literally plastically. Then in a more semantic, even symbolic way, it fits into the gaunt body. It is then that it comes out in iconic form.

Here the body is approached in its purely carnal sense, rich in expression, intense. The impression of a body that tells its story. The visible memory is under the skin. The work tells, draws the body or what the immemorial history says. A body that says, scratches, caresses, itches, shows, burns, understands, absorbs, digests, desires, dreams, listens. The drawing on the skin is the sign and gesture of the body.

Faced with the drawing of observation, the free realizations allow to release the feelings anchored in our memory. According to the famous expression of Paul Valéry, “The painter brings his body”. There are many examples of pictorial performance:

– The Viennese Actionists
– The gun painting of Niki de Saint Phalle
– The gestural paintings in public of Georges Mathieu
– The living brushes of Yves Klein
– The actions of the Japanese group Gutai
– The drippings of Jackson Pollock …

“I engage my body, for the duration of my life, in pursuit of this extreme adventure,” Roman Opalka.

Issues addressed: Questioning the figuration of a torn body.

Concepts addressed:

– Impression of torn flesh
– Drawing, sign, gesture on the body
– The body, the skin, trace of our existence
– The drawing tells its story
– The body says, scratches, itches, eats, absorbs, digests, desires, dreams

Reference field:
– The fully carnal, visceral body of Francis Bacon. Its violence inherent to the living
– The materialism and expressionism of Jean Dubuffet. His trituration of matter, analogous of the body suffering in his flesh
– The pictorial dough of Willem De Kooning. His painting as a matrix place, germinal, marked with the feminine seal
– The body to body of Giacometti. His figures as sketches, his gesture of the claw, the grubbing
– The immemorial question of Anselm Kiefer. His material like inverted palimpsest
– The logic of the Deleuze sensation

School First year traineeship in visual arts, University Paris 1 Panthéon-SorbonneMaterialsGraphite, charcoal, acrylic paint and inksYear2016

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