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Nike

$5,564
Painting
One of a kind work | Framed and Ready to Hang
81 x 130 cm
Recipient of the dedication:

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Technique
Acrylic painting
Type
One of a kind work
Material
Mounted Canvas
Dimensions
81 x 130 cm
Framing
Yes (87 x 136 cm)
Quality Guarantee
Sold with a certificate of authenticity

Acrylic paint and Indian ink on canvas frame.

"Niké" (Goddess of victory) was conceived during my second pregnancy. Inspired by the time of my waiting, by my drifting thoughts during and after my pregnancy, I deliver a dreamlike, poetic world, rich in details both in the subject and in the treatment.

This painting is part of a series entitled "A New World" which was exhibited in 2019 at the Luc Berthier Gallery.

Here is a text presenting this series:

A NEW WORLD

In the beginning was the Word...
As such, says the Prologue, the Word was the mastermind of creation.
Of the Word, this text tells us in n that it is inseparably life and light.
Transparent waters so as not to lose any detail, vertiginous drifts of the body,
algae clinging to the uterine floor, playing spread out in the surf, irruption of
discreet cat's paw or mandolin air which we guess were at least two to listen to the music, chattering organs or panpipes, here we notice
that music softens the hearts.... all these things swim in this belly
of Ali Baba in an atmosphere of primordial maelstrom, a kind of high mass at creation.
However, at the bend of a drowned tree, an obstetrician's clamp, also in ottaison, it is however against nature, lingers to recall from outside the body of the parturient. It comes into play and will perhaps participate in the revelation of the Word. The signi ant images are juxtaposed in weightlessness inside this amniotic sac which serves as an initial framework for the being to come. Already his stories announce it. Already his coming is an odyssey.
And she, She, the indwelling Grace of the Divine, lets herself be carried away by multiple ef ections, so many offerings made to her black star. Soon laid on the ground under the weight of her treasure, timeless Pocahontas besieged by the bliss of childbirth, delivered to the battles of a profound transformation, the imminence of separation sees her body lose its footing, the poppy hearts spill to the blood and water of her entrails to give life. She murmurs: "Come, come! I'm waiting for you outside".
And he, the Word, lingers to be guessed. With one hand he signals himself. With one foot he goes away. Out of frame! I say he and should think that nobody knows anything about his kind except that his coming is imminent. This angel goes to the gates of the outside, before the morning of the great day. He swims in the primordial swamp, in Paradise, the only one in my opinion from which we each take away a persistent oblivion after the red line. Beyond, in the distance, at the birth of the horizon, the edge of the village pro le in a sepulchral den.

Paris, February 2019

NB:
Mélanie Pasquier was revealed to us thanks to the Paris Art Contest 2018, an international competition from which she was unanimously awarded 1st Prize. Thanks to her who dared and to the members of the Jury who had the eyes to recognize her.

artist avatar

Mélanie Pasquier

Emerging artist Emerging artist

14 fans

Savennières (49), France

32 works

Between features and matter, a sensory journey. The point as an atom, the body of the work in gestation, the fruit of a necessary slowness ... Shape and form of memory On the ochre and earthy backgrounds of Mélanie Pasquier's canvases, enigmatic, fantastic and hybrid forms unfold. Point by point, line by line, they swarm, crawl, and take on the body that the artist patiently imprints on them. From canvas to canvas, they come to life, disturbing and strange, hesitant; here they erupt but there they fall from unsuspected heights. The bits of trees rub shoulders with bits of bodies, bones, teeth, hair, anonymous and miniature figures; feet and hands are engulfed in torrents of branches, leaves, algae, pebbles and clods of earth. But here an eye watches, a figure appears, two fingers rise and titillate a body-pocket-bag of hair from the end of which the vaporous form of the memory escapes. It is precisely from this source that Mélanie Pasquier draws her inspiration. That of the tactile memory of a hand passed through the earth or through the hair of a loved one, of a furrow traced in the ground with the tips of the fingers or of water impossible to grasp between two hands. How to translate the sensation? How to transcribe the nebulous numbness into which thought plunges when it wants to remember the materiality of the past? Mélanie Pasquier's paintings are the image of the Dream; dreamlike, floating, plasmic. They are the tables on which to expose the excavated remains of her mind and of an oxymoric memory, because they are both tactile and impalpable. Thus the forms spring up on a background that has no earthly substance other than colour. Here and there, the drips and fades, the liquid and faded colours translate the evanescence and passage, the impossible attachment of what constantly escapes. But the black contours of his drawings offer memory the material anchorage it needed to exist in the eyes of the world, to finally emerge from the "witch" who gives form to the memory filaments, and the title of the exhibition. Sensory memory is an ambiguous and fertile breeding ground. It is the belly that carries the bodies in gestation, the cavity from which they flow, by free association of motifs, before unfolding in the light and finally docking somewhere: on the artist's canvas. Point by point, line by line, the vague subterranean of memory is then gently illuminated. Rustling, impatient, it finds a second life in art. Proud to have escaped limbo and oblivion, she deploys her space in the interstice opened by the painting between life and death, the cave and its beyond, the ivory or horn doors that separate Aurelia's Nerval from the invisible world of the Dream and Mélanie Pasquier from her memories. Text by Horya Makhlouf

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