Painting "Hora" n°1 Acrylic painting and ink on canvas frame.
"Form 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 lift, and come to 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 dreams, dreamlike, floating, plasmic. They are the tables on which to expose the excavated remains of her mind and of an oxymoric memory, because at the same time tactile and impalpable.
Thus the forms spring up on a background that has only earthly 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 inking it needed to exist in the eyes of the world, to finally emerge from the "dowser" that gives shape to the memory filaments, and its title to the exhibition.
Sensory memory is an ambiguous and fertile breeding ground. It is the belly that carries the bodies in gestation, a cavity from which they flow, by free association of motifs, before unfolding in the light and finally, somewhere: on the artist's canvas.
Point by point, line by line, the vague underground of memory is then gently illuminated. Rustling, impatient, it finds a second life in art. Proud to have escaped limbo and oblivion, she unfolds 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."