Women in feathers

Dernière mise à jour : 10 juin 2018

Women and pens live their own lives at this exhibition, allowing - thanks to light - the free play of associations.

Atelier Poray

Established in the eighteenth century in France, the art of the revue was individually developed in the author's spectacles by Aleksandra Fontaine. While today's Parisian productions are replicating a mass-drunken mix of dance, sketches, cabaret, song and circus, massaged in the mass media, Aleksandra goes clearly with her ideas towards her own ambitious theater in which dance, music and the whole scenic movement together with monologues and dialogues of actors, they create a total spectacle similar to the idea of synesthesia of arts. If something tastes the best, it's definitely red wine!

Quite differently, in spite of stereotypes, it is in the performances of Aleksandra Fontaine.

Aleksandra Fontaine by Poray

Calculated for maximum profit and for mass visits by tourists from the Far East, Paris performances copy the same performance for many years and each evening.

Quite differently, in spite of stereotypes, it is in the performances of Aleksandra Fontaine. The dance is clearly improvised here - giving each new show a new aesthetic experience. Each subsequent performance also brings new solutions and corrections in the direction of light, and thus in implementation

Set designer. The same pens, designed by the artist herself, create still new semantic contexts, new emotions in the viewer, and still surprise with new formal ideas. The dancer's movement, along with the pheasant's or geese's feather following this movement, puts the eye of the viewer into a kind of hypnosis, allowing a man living in the 21st century to meet the eternal, human archetypes.

In Pawel Zbierski's painting and photography - in the face of such a view of art by Aleksandra Fontaine - there can be no room for the reproduction of ready-made visual solutions and ways of recognizing reality. A painter and photographer in one person should submit to this coloristic improvisation of a dancer. Fortunately, he does not give up completely. The painter - wanting to capture the emotions taking place in fractions of seconds - delves into greens, blues and roses, blurring the sharp boundaries between colors and deliberately losing details. The dancer's line, which in the performance itself was supposed to organize the space, breaks here, worries with its ambiguity. In his oil paintings and watercolors, Pawel Zbierski mainly sees his heroine intimately, as if from the side of the stage set on the stage of art. The painter himself - inspired on one hand by the nostalgic and fatasmagoric gaze of William Blake, on the other French impressionists - extracts from the artist's penciled something that is strictly forbidden to artists in the modern Paris revue and reserved exclusively for the spectator: lust, existential fear , uncertainty, longing and even metaphysical hunger of modern man ...

Max Sickert

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