Muriel Rodolosse questions man’s notions of nature in her exhibitions. Linked to current discussions concerning globalization and our change of geological epoch, the Anthropocene, her reflection questions reciprocal actions that change the behaviour and properties of elements, bodies and phenomena. Her vision of a continuously disturbed nature is moving away from the references and the « permanence » of modernism.Situating my painting beyond an equality of genres but in their interdependence, I demonstrate how authoritarian, essentialist and arbitrary classification is. By moving genres, the nature of beings and elements, relationships of scale and hierarchy, my painting would qualify as ‘no-taxonomist’ (M. Rodolosse)
Rodolosse paints on the back of Plexiglas. She has never painted on canvas, refusing the authority of its texture and flexibility, preferring a smoother and more neutral support. She has adopted this technique since 1996. Plexiglas, which is rigid and transparent, enables the initial plane of the support to be bypassed to go directly to the back with the paint. In this way the artist builds a painting in reverse ; she begins with the details and ends with the background. The hierarchical organisation of the planes is therefore reversed, sometimes combined in certain recent works. In this movement between the exposed smooth side and the inner surface, backstage in a way, the place of the paintings exists between what is shown and what is hidden. Starting from the idea that behind what we are looking at, their is another hidden side, Muriel Rodolosse reverses the perspectivist vision of the window open to the world and questions the nature of the observed work, from the other side of the support.
Shirin Gallery, fév. 2018
>The opposite balance