Technique mixte sur papier - 96 x68 cm environ - 2006

 

La série est née du désir de confronter écriture et dessin à partir de photocopies sur transparents de pattes d'écritures collectées sur d'anciens buvards.

Un palimpseste est un support qui est remployé à maintes reprises. Les parchemins de l'Antiquité pouvaient être des palimpsestes, d'où émergaient les résidus des écritures antérieurement effacées.

Les travaux sont présentés dans la forme d'un trapèze, par référence à l'angle du regard. Cela me permet aussi de réaliser une sorte d'extension minimaliste de l'oeuvre.

Le repentir, c'est-à-dire l'acte d'effacement - raturage, gommage, grattage - va s'emparer de la ligne pour ne laisser que sa trace. Le travail se constitue de ces rebuts, qui deviennent une surface disponible pour un nouvel investissement.

La réserve - partie du dessin laissée intacte dans le traitement du sujet - témoigne de la nécessité de laisser "pendant" le processus de création, de plus amples développements ne pouvant qu'y nuire.

Cette stratification de l'élaboration, ce palimpseste de l'acte créatif dont témoigne le support, m'évoquent aussi la façon dont fonctionne la mémoire (surgissement, effacement, occultation, réminiscence, impression de "déjà-vu", perte, oubli,...).

(la série figurant ici n'est pas exhaustive).

 

 

Mixed techniques on paper / frame size around 38x27 in. 96x68cm - 2006

 

(In the very remote days, in countries like Mesopotamia, a palimpsest was a parchemin on which people have been writing again and again, leaving traces and prints of former uses).

This group of paintings is born from the desire of confronting writings and the act of drawing.
The pieces are most often shown in the shape of a trapeze, refering to the relation we have with books. This figure extenses the piece out of the painted surface. Inside, we may dream of global poetical content, where the literal meaning has no more reason to be searched.

As an illustration, the repentance (the act of erasing a line or surface) provides sometimes to the process a particular density, connected with the iterative and repeated attempts. Whether it has been crossed-out , deleted, gummed or scratched, the line would desappear to leave its traces, which will be part of another field, which would be the recording or the memory of the whole attempt.The piece is developped by the accumulated residues, which is getting part of a new surface available for a new investment. 

Some other fields may also be explored in a comparative way like the reserved surfaces providing to the drawing the appearence of an unfinished piece.

Beyond any kind of figuration preoccupation of expression, it testifies of the emergency to root to the spot in the very moment the creative processus: further developpments would only damage this feeling... Sometimes, the subject has to desappear behind the painting or writing action. When all is said and done, some particular formal vocabulary would merge, in which those building/demolishing games would be endlessly repeated to let hopefully at the end the trace of prints or resonance.

This stratification of the elaboration processes, this palimpsest of the creative act which testifies the support, are evocating to me as a metaphor the way memory functions ( sudden appearance, block-outs, erasings, reminiscence, feeling of "already seen", losses, forgettings,...).