Collages and photos
cf. my commentary (blog.stephanus.com) sept. 23
...(l’essence) de la photographie est "Ça-a-été". La photographie saisit le moment, l’immobilise son référent, témoigne qu’il « a été » vivant et par conséquent elle suggère (mais elle ne dit pas forcément) qu’il est déjà mort.(R.Barthes)
Must we always explain our creations? I have little time or inclination to do so, except when it becomes urgent.
Here is a confused looking collage at first view because it uses Dali's technique of hallucination as a double view. In this image, a peaceful family is seen in the lower part which extends to the oversized character of the top. It is a Black and whose crying disturbs this idyllic scene. It is obviously an evocation of slavery: Whites are idle, they enjoy their comfortable situation. With one exception: the milking of the cow in the lower left corner, referring to the serfs?
By adopting a different point of view, it could be the nostalgic contemplation of a mythical past (the good old days), where man was supposed to live in harmony with the earth. It is true that many paintings of Poussin, Constable or the Impressionists have cultivated this fable.
What I consciously expressed in this picture is the ratio between stability and instability. The figure of the Black appeared to me towards the end, when I asked myself what was missing in the picture. And the head in profile, like that of the man sitting, could then be the close up of this man whose head is only partially visible, as if hovering above this idyll in the manner of a spirit. As for the milk, it makes me to think of Paul Celan: "Black milk of dawn ..." in his Death Fuge. Et in Arcadia ego ... to stay with Poussin.
In the garden of art
I feel like a gardener who looks after the tradition of painting and without chemistry! And sometimes weed insinuate themselves among the flowers – for the better!
So this collage based on a Van Gogh painting. The gardener is very old because he embodies the long history of painting and this before an impressionistic background. Behind him, a Malevich peasant stands as a reminder of the quarrel between figuration and abstraction, the latter pretending to be progressive, consistent with modernity and revolution. There have been anathema against figurative art. This art has been banned from exhibitions in the 50-60ies, but fortunately this wall of oppression has not kept! Because what counts in my opinion, is the joy of creating freely and to circumvent rules and dogmas. Accept them means to restrict oneself. It is like obeying a diffuse authority consisting of some "experts". I doubt that submission is an artistic value in any field of art . To me it looks like a French garden, made without fantasy and giving the impression of sterility. And it hardly calls for the enjoyment of the premises, evidenced by the rooms devoted to conceptual art!
In my garden I'm trying to experiment with new associations while drawing inspiration from past successes and inviting the visitor to a fun and rewarding walk. Besides, my gardener turns both to the past and the future of art.
This image is enigmatic. First, it is the combination of two bodies, one has arms, while the other does not. One sees, looks at us, the other is blind. One lies, the other is sitting etc. I guess this image is uncomfortable because of the powerlessness of this / these figure / s. If we look closer, we can recognize in the lying figure Diana. In making this picture, I imagined how the image of the dead could be perpetuated in her daughter. That may be why she sketches the gesture to her throat? How can we read the image? As often, it does not give bylike that, you have to dig further. It's two beings welded together, Siamese twins, conscious beings, but powerless, living nightmares, the illustration of a dependency.
Ce collage est un détournement du retour de l’alpage, sujet bien traditionnel et idyllique. J’ai tenté d’y montrer l’arrivée d’étrangers par la montagne, bouleversant le paysage si propre et en ordre. Les gens déboulent, le paysage est bouffé par les constructions et les habitants sont immobiles. Ici encore, il s’agit d’une image qui fait référence aux grands panoramas alpins qui ornent le Palis fédéral et aux photos qui célèbrent une Suisse rêvée, bucolique et traditionnelle et que je verrais bien, très grande, orner les murs d’un musée parmi les nombreuses toiles célébrant ce mythe.
Les puissants sont debout, les dominés sont par terre en train de se bagarrer entre eux. Voilà mon collage no.266 du 3 juin. Je me réfère toujours aux tableaux d’apparat représentant la famille royale et leur reprise par les photographes de magazines mettant en scène les monarques du moment. En fait, mon collage est conçu comme un tableau de chasse : à leurs pieds gît l’immonde bête domptée, l’hydre à deux têtes. J’ai essayée de complexifier l’espace du tableau, comme s’il s’agissait d’une toile immense, à trôner parmi les innombrables croûtes représentant les familles blasonnées. Et à Beckmann qui hante mon imaginaire depuis toujours.
By this "portrait" of an old man, I am seized with an indescribable melancholy. No doubt this is because I saw an old picture of myself, taken by Philippe many years ago. I wrote: "Is this really me?" because it is difficult to identify with a young man when one is 75 years old. So in this picture, there is this weary old man (which I am hopefully not) or one whose origins are charged with a painful history form a black patch over his face. This is a kind of self-portrait that anticipates my future appearance, even if I cannot recognize myself either, except for what is the weight of the legacy passed.
Property of R. Gramoni, Geneva
It's Eric Winarto's now.