A LIFE OF INSPIRATIONS
It gets dark earlier every day. The sun goes behind the hill. The Art Studio continue with the reflectors light. I still listen to my owl: in spite of everything, live every day, every step, do not be impatient.
The road is long but enriching, full of energies, teachings and discoveries.
Essential.
It is an initiation path.
It snows. I write from my bedroom.
Look into the past? I prefer to look forward!
Then move forward and re-appropriate the past.
We read in the stories and legends where the heroes to reach the love of the princess, they must cross a dark forest full of danger. It cannot take another way. It is the path of initiation.
The monsters walk freely in the workshop: I have good company; I have to choose what to take and what to leave.
The calcined sculptures. Aligned as soldiers. Filled with dust.
Made in 2008. Varnished in wood oven. I remember trying to capture the dark charcoal and the subtle grays and whites of the ash. In this time I burned everything. Fascinated by the colors in black and infinite whites. It's a pretty dramatic picture of death. I knew it was not a road where I would stay for a long time. Here we have a picture of burnt lemons.
In Saint-Cloud Studio.
Ceramics and fabrics.
I return to 2017's piece of art called Le reliquaire jaune (the yellow reliquary): anatomy of a small flyer. Porcelain, fabrics, coloring and wood. Each piece is wrapped in cloth, labeled and classified.
Against the hardness of the porcelain, the precision of the stretched lines, the definite, the definitive. The splintering made me feel overwhelmed, the softness of the fabric, the silkiness, the mystery in the transparent, the cover.
Due to the invading disorder, I need to classify, make a list and arrange things.
It is a necessity.
Model for the Tree of life.
This 2018 art work proposes another association of materials: ceramics and wood. The earth and the tree. The wooden sticks contribute to the strength and stability of the Circles. The circular and the linear. They also allow the assembly in different ways like a game. They are cells, living organisms. Plants as well as planets as individuals.
Inspired by color and working on it.
Dead natures.
White porcelain. The painting, the color seemed to be out from my imagination, here it is, enriched and vital.
At the 17th century, the paint, the architecture, the furniture, the fabrics, the tapestries and the beginning of the 18th century, the Enlightenment.
Different forms, colors, materials, ideas, another vision of man, society and the world.
After antiquity, Roman art finally brings to an end the Middle Ages.
Phase 2 at Chassy, focused on the studio.
The walls are 1.5 m thick. All these stones filled two walls of large stones carved on one side. We took the stones from the closer quarry and carved them in the visible part.
Ocher limestone region between the Puisaye sandstone and the Morvan granite.
In the meantime, same as last year, i settled in the future hall. We find instinctively the atmosphere of the XVII century colors, both dark and bright. Heavy red, pink and blue ochres. Colors of Wermeer
My work is shared between Saint-Cloud, Chassy and Mexico that I will find in February 2019.
In this sculpture I wanted to develop the subject of envols in a different way and make them travel in time. I also wanted to mix techniques like molding or modeling and 3D printing. Here is the cat's head of the Egyptian goddess Bastet, the large dress that recalls the Menines, and the wings/arms of the petits envols (small flyers).
This porcelain sculpture made in a 3D printer is also a centaur portrait for a gift. This portrait is inspired by the work of the Remains Fields realized for Archéologies du Futur where I recall the excavation fields which inspires me so much. The porcelain reminds me of marble. We picture this sculpture as a part of an Imaginary Museum.
LIEN (bind) is a social exhibition and cultural heritage, an eco of the 2018 Dakar Biennial.
Pascale Fournier participated in the exhibition LIEN inaugurated may 15th 2018 in the Gallery 49 av. Jean Jaurès 75019 Paris.
Article published in the journal "Le Soleil de Dakar" http://www.lesoleil.sn/2016-03-22-23-38-25/item/78295-echo-parisien-a-la-biennale-de-dakar-la -d-gallery-launches-a-exhibition-collective.html
The bind between the cultures and men exists everywhere in the geographic, cultural and religious frontiers. The art was there to proof "LIEN" (bind) is not an empty word.
I was there to watch how we share the same values and the same things concerning us.
Thank you to the "D Galerie" and "Domitille Bertrand " for gathered us in this exposition.
This "LIEN" exhibition was a chance for me to show the knitting and installation
Somebody said: "yes, i understand the blue band which represents the .Mediterranean", other one mentioned "is the Samson and Dalida's chorus", "The red net recalled me the red sea's journey". "It's very biblical." A little girl told me "they play, they jump".
Thanks to everyone for being there.
1060 °C. It all went well.
Everything was packed by Gerda Grüber's supervision eye.
The last picture. We embrace each other: yucatecan's warm and eloquent hug.
Coming back to Merida on Tuesday where I'll start with the final touches.
On the wait we forget everything, it's Easter Sunday and we are gathering with family and friends on the beach.
Jícaras: integral part of the Mayan culture. Multifunctional and omnipresent element for eating, for water or for bathing; they are always used. They have a sacred and magical dimension as can be seen in the Popol Vuh.
Each sphere means the mother, the human being and the world.
Each person is a world.
The tree also unites the earth with the sky.
The long wooden sticks placed across the spheres, interweave visually the space between each other, connecting the world and the Universe, just as wires do.
We live in a connected world.
Graphic Records: that the jungle has covered the immense Mayan archaeological sites or that the Roman vestiges are in the heart of Chassy, only updates us in a small way.
The History, the past civilizations and the men who lived there share with us everyday life.
How to live in the places?
In situ.
Outdoor.
Appropriate the space. The artist with reflection, approach, ability to enliven and experience new ways of adaptation, participates in the preservation, transformation and renovation of places.
Integration or non-integration of works in outer space, geography and history.
Decorative sculptures, at the top of the columns of the porches resembling the support of classical sculpture.
Syncretism of cultures and archeology of the future.
