11 april 2017

Fabienne Verdier #3

Fabienne Verdier, atelier Munich, 2014.

The brushstrokes of Fabienne Verdier are something like corporeal witnesses for that singular instant of a harmonious encounter between the dynamism of color-material in space and the artist’s bodily awareness of the present, that instant when, in the deepest concentration of this awareness—in a radical and exclusive here-and-now—she enters into dialogue with this dynamism and thereby opens the dialogue to the viewer.
Her studio is built above a spring. A site is thereby created where telluric energies are particularly perceptible. The canvasses are spread out on the floor. For Fabienne Verdier, the painterly grounding onto which she steps is space itself.
Mounted onto an iron beam that traverses the twelve-meter-high studio are Chinese brushes, huge and ancient. Some of their shafts are as tall as the painter herself; their bundled hairs can absorb so large an amount of paint that the weight has to be counterbalanced by their being hung up. The large brushes are suspended close together from the ceiling. When disburdened of paint, they begin to sway softly in a pendular dance of telluric energies; they seem to be alive and to resemble a convocation of strange beings.
The most important tool for her work is in fact the site of her studio. In this energetically charged stillness, which made itself felt in an immediate manner when I stood within this space for the first time, the painterly process develops as an actual dialogue between the paint material and the forces of gravitation, the dynamics of adhesion and cohesion, the electric energies of magnetism, the movements of the earth’s rotation—in other words, it is a dialogue that arises each day out of completely different circumstances according to temperature and weather, the position of the sun and the moon, and the constellation of other planetary orbits. For the paint reacts to heat, for instance, with extreme agitation, causing the edges to spray upward and fray; in the case of cold, it is lethargic, adhering more strongly to the canvas. The entire painterly act in the dialogue between the artist and the brush, the pictorial space, and the nascent form will be defined by the consistency of the paint material in response to the meteorological conditions of the particular day.
If one of the large brushes is soaked with the weight of the mass of ink, it develops in the sweep of its pendular movement such a force that this dialogue becomes an extreme physical challenge for the artist.
(bron: my magical attic)

> Fabienne Verdier

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