Realism/abstraction, consciousness/unconsciousness, solidity/emptiness, brightness/darkness, here are a few examples of antagonistic notions which have always been at the heart of art controversies. But can any of these notions be fully understood without their opposites?
Is not any system, any organization, any individual and even any emotion made of opposite elements? The capacity to adjust them to each other allows harmony to emerge. But such equilibrium is often precarious. We walk on a rope that can break at any time under the influence of external or internal factors. The clear perception of this precariousness can lead to tension and uneasiness, but also to meditation and emotion if the beholder surmounts his apprehension.
We can sense the fragility of such equilibrium in some works of art. These works of art contain traces of these addictive substances that one uses to stimulate the brain beyond its normal cognitive capacities. Such substances, at the same time appealing and worrisome, can initiate desires, doubts and fears, ultimately associated with any journey, whether real or virtual. According to Rainer Maria Rilke : “Works of art are always borne out by one who has faced danger, who has gone to the very end of an experience up to the point where no one can go further. The harder one tries, the clearer, personal and unique a life becomes.”
It is this kind of works of art that I invite you to discover from April 2, 2016 to May 28, 2016 through the confrontation of three different styles: the “onirisme” of Isabelle Jarousse, the “holonisme” of Gordon Hart as well as the informal art of Théodore Mann.