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Abstractions ambigües |
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Abstractions ambiguës
Depuis 2000 (exposition «Comportement n.m. à l'Espace Paul Ricard) la recherche de Natalie Lamotte repose sur une expression violente de narrations féminines. “Comme une Ogresse” propose des états charnels issus d’un processus puissant et vital d’arrachement à fortes connotations sexuelles ; traduisant un moment de l’intérieur, une expérience vorace.
“Je cherche à surprendre un moment de l’intérieur, l’emmener à maturité pour enfin l’expulser peut être comme un accouchement? C'est l’étude et la transcription de cet espace d’abord mental, qui s’invente dans et par le cerveau avant d’être reconnu dans la réalité".
Sur la toile, de grands formats, des masses peintes de couleurs denses et transparentes en suspension, des formes ambiguës à la fois intimes et organiques.
Abstractions ambiguës, ambiguïtés intimes, ambiguïtés sexuelles, abstractions organiques, abstractions sexuelles
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Ambiguous abstractions
Since 2000 (exposure "Behavior n.m. to Space Paul Ricard) the search for Natalie Lamotte rests on a violent expression of female narrations.
"Comme Ogresse" proposes carnal states resulting from a powerful and vital process of wrenching with strong sexual connotations; translating one moment of the interior, a voracious experiment.
"I seek to surprise one moment of the interior, to take it along to maturity for finally expelling it can be like a childbirth?. It is the study and the transcription of this initially mental space, which is invented in and by the brain before being recognized in reality ".
On the fabric, large sizes, painted masses of dense and transparent colors in suspension, at the same time intimate and organic ambiguous forms.
Ambiguous abstractions, intimates ambiguities, sexuals ambiguities, organics abstractions, sexuals abstractions.
“(…) It is not a question for it to give an account of any reality, but to let go up belly of the forces, and to let them well transform itself into forms by means of a kind of alchemy related to the concentration mental and generated by a pictorial dash.
That these forms resemble closely or by far bodies or fragments of this body which our skin shelters and hides, should not surprise us. Often the painters say to work with their “tripe”, with the direction where they come to sweep the visible one which haunts them colors and gestures which, say, are born in the intimacy from their flesh. Rare are those, however, which leave with these movements of expression, with these impulses force, with these dashes of the flesh, freedom and time to come “just as they are” to be posed on the fabric. (…) ” Complet text of reference (Nov. 2005), Jean-Louis Poitevin, old directing of the French of Innsbruck, critical Institute of art on http://www.paris-art.com/nomad_detail-2938-lamotte.html |
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