Bosque de la china was a displacement of drawing to sculpturing, to delineate paths for different gestural moments of the line and matter. The graphic moment extends on space, surrounding shapes and revealing surfaces. Granite tracks which models the plaster, the paper, the resin or the wood, compounding a dry garden where the rocky and watery prevails as melancholic elements of an interior landscape.
Bosque de la china title of mi grade project in Paris retakes the place of a lullaby “in wood in China, I Chinese girl got lost…” geographical reference, imprecise and distant, which invites to submerge in the ambiguity of an remote image. The condition of getting lost is present before the disappearing of the horizon line in the inside of the forest.
Blue exit purposes the possibility of the blue as a metaphor of escaping. Being this a practically absent color in the sample, refers to the immense extensions of the landscape: the sky and the ocean which transfuse in the blue the essence of the infinite. These two projects make evident the search of geographical references to delineate gardens where the drawing constancy was the tool to project an own topography. Here the insistence of the stroke, a restless instinct, remains the difficulty to move. The atmospheres of the present become into the plot and the elements of nature emerge in the gestural rhythms of the line. Between the fluency and the clumsiness these chains suggest equilibrium and presage a displacement. Regular plots, compulsive lines and stains of color dance to corporeal rhythms.
A shivering covering reveals the interior presence of each object. Soft and malleable materials get undone and stratified. Sedimentary cuts build the shape revealing interior relieves. Shapes which look like being in imbalance because of the assembling with improbable skirting board, tension which rises for the apparent fragility of the stroke’s inscription over the sculpture. Objects which evoke pictorial elements belonging to the landscape, compounding in this way the acknowledgeable topography.
Inspirited in the eastern gardens, I tried to highlight the apparent and ephemera fragility of the landscape. This installation does not allow seeing the totality of the pieces in just one look, but it invites to contemplation through the march to a new universe revealed by the pencil. A garden is revealed in the galley, a landscaping stenography proposes a way whose travel is marked by the ritual of the sediment drawing over poodles of solidified plaster. Alternating different media, works befall in the mounting. Through the prolongation of space, the in movement glance goes among the pieces, in order to lead in the melancholic intimacy of a geometrical shape “á la lumière forte du soleil” and the vaporous elevation of a stripped column “maelstrom”.
The drawing is thinking aillers (somewhere else) through time, line after line, dot after dot an ideas enchaining which crosslink without any of them persisting. The line is faltering, clumsy, stubborn; it displaces, gets obsessed, and gets over; tries the terrain through a cartographic instinct. It gets closer to sculpture, it involves it.
