Effusion

 

 

The internal world of each person can be seen as landscapes and populations. "I" is a varied crowd. For each situation we react more or less like a child, an animal, a judge or mad ... We are numerous insignifiant people on earth but we are also unified and unique. Art seems to show us this idea but it also conveys other notions. Art can wake us, repair the connections between the mind and organism. It struggles against petrification, the irreversible, the forbidden and the prevention... It challenges the consensus and allows itself to establish its own rules.

I believe that art knows how to get away from the side of reason which wants to control everything ; this part which in general has been inserted excessively in our very young mind. Art has an intense ability of condensation, free from the codified rules of language. An artwork has not much to do with language, in fact from that viewpoint, it becomes distant. Language, when it doesn't deal with prejudice, statements and pre-existing formulas, is the raw material of philosophy, literature, poetry and theatre. But obviously the artist who draws, paints, scuplts or films also uses language. The accomplishment of a work of art seems to be mental as well as physical, it is thought or felt aswell : it is a never-ending exchange between thoughts and emotions. The raw material of art is matter, colour and shape. Art permits oneself to master more and more the use of language in order to push thoughts and creations further. Art also allows the development of skills other than speaking, to relate more deeply to people, to be in touch directly with individuals, things, elements.... If art does this, then I am fascinated by it and it makes me feel alive.

During this period of ‘individualism’ surrounded more and more by the ‘virtual’, art certainly deals with universality and presence. A work of art is at the disposal of individuals, the artist creates it from a kind of need or necessity. The human being seems to not be in immediate touch with environment, with others and with himself . People can show a lacking capacity to see beyond visible things, to perceive and to think independently, maybe that’s why the existence of art is needed and primary.
Generally, when looking at things from a usual viewpoint, we don’t perceive anything because it’s as if our eyes only recognise things in our daily environment and we unconsciously just verify that everything is normal, in place without anomalies. In a way our sight is getting dulled with time and our way of life concerning organisation and priorities. It’s like we lose our childlike vision. Painting has the ability to deeply restore this.

The space on the untouched canvas could be like a black hole in the real space, like a place where reality has vanished. When I look at a blank canvas, I find myself in front of an empty space and I can't figure out what there is around it. I feel concentrated, stunned and I have to rid myself of these projections of mental boring images which can invade daily environment. I try to get free of clichés which prevent the imagination and to go beyond a simple and daily way to see ; I search to reach a manner to go through visible reality in order to make invisible things take shape and to develop some tricks which permit me to give forms and colours to feelings, thoughts, questions…
Each painting is a challenge to the previous one made. I am profoundly fascinated by painting. All senses in the body can be roused by colours, not only sight but the sense of touch and even hearing, smell and taste are awakened too. In front of a painting it’s possible to feel its colour, nearly taste it and hear it creak, slide, leak ... Colours are directly linked with the nervous system and a part of conscious which asks for explanations can be lost when a painting is perceived.

The painting is not placed on the floor, nor in the middle with viewers but around them and when they face the canvas, it seems to open the wall into another world. A painting is an utter presence, it is tangible, it does not hide any device.
For me, to paint is to travel non-stop, both mentally and physically, but not in the usual sense. The territory doesn’t change, it’s always the pictorial space. I travel thanks to colours, shapes and aspects which create space and visible complexes made from several different sources.
In front of a painting, we move by thoughts and emotions ; it projects us into another temporality because in general, painting has a independent way to frame things compared to photography or images from film or video. It’s as if time stops to allow us some internal and mental accelerations because the painting is made of levels and mixes. In the painting field, a kind of slowness occurs but there is also rapidity.

In a certain viewpoint, a painting is fiction even if it’s tangible, maybe because it shows us a creation of the mind often free from the daily way to see. The painting can show distortions of vision rules because the painter has the power to use illusion effects of volume, depth and radiance as he wants.
Paintings are often related to the realm of images because it’s flat and hung on a wall, but we can’t consider a painting like an image because it’s an object with a certain width, an unique thing, a surface on which matter has been worked on. A painting can offer to viewers things which cannot be seen in daily life or which have no such visible links in reality.
As regards contemporary activities and researches about technologies and laboratories, I am both fascinated and frightened and have inside an ecstatic naïvety mixed with a naughty pessimism. I also wonder about our daily behaviours concerning body, objects, machines, media... I am curious and interested concerning all of this - even if  information comes in filtered and fragmented.
I want to create more intense ways to experience the present. They are as little worlds made of elements which have existed for a very long time and of contemporary subjects. The act to paint offers a stop in time.

My painting is growing up between the natural and the organic, between spontaneity and control ; there is some raw outpourings through the material represented by the consistency of painting which seems to flow or to become emaciated and to disappear. It’s a painting work developed between imagination and reality and each painting can be seen through both excentricity and rigidity, between illusion and flatness. In my paintings I attempt to create connections, tensions, fusions, resistance between elements taken from different orders. The painting becomes a place of confrontations, meetings and associations ; a space made of reflections, questions and experiments, an area where you can let yourself go with your imagination, sensations and feelings.
In each painting, it’s a balance between the free act of painting and ways to inspect, control and verify. It’s as if the technological ‘artificiality’ enters the organic.
There are also some little sort of games and some kind of reverse orders in my paintings. The colour can form itself, without any predefined shape, or the colour is restricted, contained in lines, and seems to come secondly to fill a form. There are also free shapes, informal, as if they were forming, and there are closed forms, geometrical ones, already finished. The space can be constricted, strict, and rigid or open, confused, unbounded, and seems to move.
Painting has no particular or singular aim, it does not exist to relieve people from something or to distress. It’s more about dismantling certitudes and magnifying ambiguity and mystery.

To perceive rather than just to see ; to live in a more intense way rather than in a frivolous manner ; to breathe rather than to suffocate. Is it naïvety ? Not really, it is maybe more a kind of mix between being intellectually pessimistic, and sensitively optimistic. I find all of that in the act of painting.
 
 

(Lili Heller)