L'épaisseur de ces murs ne suffit pas pour taire Painting by Florence Girardeau

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L'épaisseur de ces murs ne suffit pas pour taire

Florence Girardeau



Size: 16 W x 11.7 H x 0 D in

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About The Artwork

"L'épaisseur de ces murs ne suffit pas pour taire" (Fr) "The thickness of these walls is not enough to silence" (En) - 2020 Series "En retard, toujours en retard" (Fr) "Late, always late" (En) Watercolor on 300gr Canson paper / 29,6cm x 40,6cm I started this series of watercolors under the curfews and lockdowns, while I was looking for a home to live. However, these architectural spaces reflects emotions, or personal relations, or sometimes portrays a person or a temporary situation.

Details & Dimensions

Painting:Watercolor on Paper

Original:One-of-a-kind Artwork

Size:16 W x 11.7 H x 0 D in

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“We gave up preserving a nature that we failed to inhabit, though we keep an incurable nostalgia of it. So, we possess objects and products that, like wrote Baudrillard, « give back nature as a sign after having ended it in reality »”1 The field of art is a paradox. On one hand, art provides these objects, on the other hand, it seeks the dreamer place. “dream, or reverie, is the firebrand that we use to make reality’s ashes enlighten. “2 Reverie and potential of desire are the basis of my work. In the space of paper, I shape visual perception regarding illusion mechanisms. In the space of exhibition, I’m interested in the way bodies would move around, how physical perception will occur, how it will link with understanding, confronted to the video installation. In the last years, my work proceeds mainly by sequence articulation, elliptic layout, would it be by time editing in the videography, or by relating several object or images in an ensemble, or by several drawings in a series. My working process implies gesture, action and making, body as a tool to understand and transform. A balance between control and unpredictable takes place. In the studio or outside, I give rise, for me and for others, to situations that get out of economic and social chain. I try to observe the expected, the schemes, and thwart them. That is a way to seek how to be in the world, to ask questions, to seek what would be freedom. My subjective proposition, sometime puzzling for myself, aims to find an echo in the viewer and make him.her walk his.her own detour. I don’t seek for beauty, nor to make a pamphlet, but first of all I seek intensity, then interstices. Doubts occupy my work more than certitudes. In the joint between reality’s apprehension and imagination, I watch how is acting memory, as reminiscence, collective memory, and mythology. I question space as a site, landscape, or territory, and how we have a perceptive knowledge and a theoretical knowledge of it. My work consider the body as an experiencing interface and poetic potential through its relation to environment. I hope to activate fiction and tension from a particular realness, and propose, not a static object, but an edge, a path branching off, or a door. 1 and 2 : Mona Chollet, “The Tyranny of Reality.”

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