French artist Mathilde moves seamlessly between multiple mediums, from painting to sculpture and installation, to explore gesamtkunstwerkor “all works of art”, this is the concept of early avant-garde development. The result is a harmonious continuity in an interactive, multi-sensory, poetic and imaginative universe that exudes a smooth arrangement of different materials, textures and patterns in space.
In her just opened performance in Perrotin, New York, the reused canvas fragments turned into hanging painting costumes, evoking the presence of the body while promoting the interaction between debris and fluid continuity – these substances exist, space and Between the audience. On the wall, soft colors float on the canvas, and their dynamic ensemble forms new, incomprehensible combinations. They intentionally resist ultimately, easily identifiable forms, and they are placed in fuzzy barriers to transformation and potential change.
“The interaction between this interaction creates a fluid exchange between two-dimensional and three-dimensional fields, thus bringing the work beyond traditional boundaries,” Dennis told Observer during a walkthrough in the exhibition a few days after the opening day, telling Observer . “For me, this work is based on allocation in space. Studying theaters in cinemas and working in cinemas for a long time, I highly appreciate the elements of scheduling each other and the obsession with balance. As the shapes emerge, The arrangement takes place gradually. The idea is to play with the elements and provide a vibrant whole.”
Just as a cosmic particles combine into new aesthetic forms, the color and atmosphere of the medium of Traverse Denize becomes choreographed by elements of unique melodic energy animation. It’s no accident that the show’s title, “The Voice of the Character”, is reminiscent of this musical level. “I named the exhibition to evoke a feeling that the energy of artwork, objects, sounds, songs or gestures is provocative among each of us,” Denize said as she moved through her work. “I seek a physical and poetic feeling that people can feel before these strange, carnival, suspended figures, as they resonate with our own bodies, are different and sensitive. One can be in Melodies are talked about in the exhibition. If we take the time to listen to their vibrating energy, different sounds usually pass us.”
In the second show of Gallery & Gallery, Mathilde Denize transforms space into a level stage to form a multi-knowledge input of “permeable atmosphere” where all elements are part of an interdependent network that expands their Symbolistic and almost Totemic present. “The exhibition is considered a unified whole, with each element in dialogue with other elements. She explained: “The patterns in the painting also extend beyond the canvas, formed in ceramic form or directly carved on the painted surface. “Elements in the space invite visitors to participate in a multi-sensory level, transforming the space into an interactive environment to train perception, activate sensation and promote imagination. “By combining flat and sculptural elements, the installation invites the audience to explore the space, texture and form relation. ”
In particular, the dynamics of painting costumes hanging from the ceiling attract galleries, which, as they fluctuate, have already suggested body movement and organic life, following the different rhythms of the surrounding atmosphere. Many of Denize’s works are considered “wearable” paintings or sculptures that can be activated in elegant performances. “The activation of painted costumes is an obvious answer to the body and its drama. “There is no narrative showing the body, and I want to work with what exists, which is still something I’m interested in today,” she said. “Here, she tries to attract some physics and open up as many stories as possible by rooting the fragile range of body envelopes while trying to inject as few fixed narratives as possible.
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In this sense, Denize’s art deeply embraces these concepts, connecting her practice with the legacy of modernism and abstraction, stemming from the desire to envision a whole new world. Her work reveals a range of references and precedents, primarily related to early avant-garde research, especially their integration of disciplines into theories that make an impact through art in society. “My inspiration is so diverse that I can take a look at Hilma af Klint, a Lynch movie, a painting of a friend, a dress draped in a chair – everything All aligned on the same level. What matters is the universe and lines created.”
Meanwhile, Denize emphasizes how her work is done intuitively, in which shapes and colors appear spontaneously. “I don’t choose my own colors, but recycle what I get from the movie set, which allows me to play more through my own boundaries,” she said. “By not selecting pigments, colors and materials, I push Opened up the decision I could have made in the first place, and that’s what I wanted – don’t limit yourself to your own taste, be surprised, get rid of the potential domination of good taste or decorative paintings.”
More importantly, all elements in this space have this sense of fluidity and hybridity, as if they come from a random but divining, interdisciplinary combination – property of new meanings. The fluidity in her painting style produces the importance of flowingness, indicating uncultivated ductility and endless transformative possibilities, the same qualities embodied in her sculptures.
All objects in space seem to be submerged or formed by the water itself, evoking continuous movements between states, as if these abstract components remain open and can crystallize into new forms or engage in new processes and reactions. “I work with a lot of water and when the shapes appear, I follow them and work with them,” deny. “To me, art is a game that must always return the work to the table. No matter the medium, as long as it is pushed to its limit.”
Her paintings are primarily abstract language that seem to evoke not only this process of ocean, aquatic and almost magical dimensions, in which case the volatility of elements and particles continue to search for the final shapes to archive and evolve.
In the landscape she describes, Denize’s “liquid expansion” can already see these permeable atmospheres – in a permeable conversation with her surroundings, the virtual environment of her canvas. “I’m not sure if I would say that pure abstract searches are only for shapes and colors. I’d rather talk about patterns and logos, a large, water-based fluid puzzle that could even be transferred from one canvas to another without encountering major Difficult, thus forming a new balance.”
Throughout the culture, myths and spiritual beliefs make water a component of transformation, purification and adaptation. Water (especially deep water) is often a metaphor for the subconscious: its vast and mysterious abyss of unknown, emotional, memory and hidden potential dwelling only when potential images that wander under the delayed surface are released from self-imposed restrictions. Appear. For denial, the artistic process becomes a dive into these “waters” to take advantage of something deeper in the general subconscious.
The artist has recycled fragments and leftovers in her studio and process archaeological reuse, and has proposed a more sustainable approach to artistic creation. At the same time, this artistic method forms a connection with how our thoughts deal with memory and construct meaning – how psychology can continually influx existing materials and knowledge with new external stimuli. “Memory always integrates fragments, fragmented pieces, so the studio becomes the ideal playground to interact with all these levels of our minds. Just like when we remember, the studio’s work is a permanent repositioning Games,” said the artist. “Filling the pieces of my work is important because they allow me to allow my assembly to be free. When putting the pieces together, the decision is crucial – it’s an attempt to create. But after that, everything can be separated and reassembled, just Like a dream in a dream.”
As Jung suggested, when the trapped psychological energy is released, it seeks new expression through symbolic forms. Once these internal images circulate in new shapes, the resulting pulse of aesthetic components has a psychedelic dynamic. The solidity of the color plane is mixed with more fluid channels, creating a sense of vitality, change and constantly shifting energy. The exhibition space itself becomes a place for physical and psychological fluxes, where things are constantly moving, deforming and interacting in unexpected, exciting ways, forming a “vibrant whole”, i.e. Intellectual and instinct, conscious, conscious and subconscious, fusion. “Studying theatre in the cinema and working in the cinema for a long time, I highly appreciate the elements that are relevant to each other and the obsession with balance. The arrangement takes place gradually as the shape appears.”
Ultimately, by curating eclectic and seemingly chaotic elements, denying what she calls “a vibrant whole” (a sense, an aesthetic space of sound), invites people to recognize the internal transformation of everything.
Mathilde Denize’s “Personal Voice” will be visited on February 19, Perrotin, New York.
