Page 9 - Claire-de-Chavagnac-Brugnon
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The summer of 2018 “Mist” series, done on the sea in Brittany, was nourished by my experience in Australia. I wanted to convey, as soberly as possible, the sensation of light in the mist-covered sky, its reflexion on the lapping water, sand ribbed by the out-going tide or the crests of land reaching towards the sky in a haze, all of this while avoiding any literal transcription.
These works are minimalist but required meticulous graphic construction and well-controlled gestures, so that more or less watered down colours soak into the canvas as the spalter passes over it.
Unlike my previous work, in which I developed a coloured graphic line following the wandering of my mind through a narrative based on memory, today my work follows a preestablished protocol. Rhythms are generated, as are silences and a sort of music, during the construction of successive frameworks. This in turn involves creating a distance from the subject, while remaining close to it at the same time. The sequence can then be upset by irregularities or even accidents inherent in the process; constant questioning allows for the material to come alive. As the work becomes increasingly pure, the smallest detail will cause the whole to vibrate, life emerging from tiny imperfections. The following lines from Lee Ufan’s “L’art de la résonance” express my present state of mind : “The orderly arranging of the surface is only a superficial consequence... In a concrete manner the brush then composes cells with life of their own, a form of conscious existence. With each brushstroke useful energy is stored, it is a living body which has been polished and honed, born of a reciprocal balance between rhythm and breathing. This is why the surface of the picture... allows us to feel the movement of life...”1 Several layers overlap in this work on memory, creating a new image which detaches from its point of departure. It takes on a new shape and becomes a new reality.
Etel Adnan writes in her book in Sea and Fog: “To be in the fog is to be in a state of suspension. What’s true is then not true; the mind’s liberation. Beyond anti-matter, more matter or more spirit?”2 Perhaps in reaction to the illustrative arts, I seek work that is clear, intimate and sensitive, reaching directly from the eye to the hand. The driving force of all my work is to capture a moment of life in the richness of a vibration, an almost imperceptible wave in the course of my life.
What will the onlooker do with this image? Feeling should be freed beyond limits. Denis Hirson writes in CLAIRE de CHAVAGNAC-BRUGNON, Memory Without Words: What is important is not the origin source of the image but the resulting play of colors, the rhythm of signs, the way they ricochet, reaching the eye and ear of present. Each mark is a translation of memory into light, light into pigment, pigment into a musical notation for the eye.”3
February 2019, Claire de Chavagnac-Brugnon
1 Lee Ufan "L'art de la résonance", Ed. écrits d'artistes, Beaux-Arts de Paris édition, p 256
2 Etel Adnan, Sea and Fog , Nightboat Books, Callocoon, New York ,second printing 2013, p70 3 Claire de Chavagnac-Brugnon, The Texture of Time, Intro Denis Hirson, Ed Lelivred’art 2014
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