Practice
Mary Sue's color marker drawings play on two registers. Executed by hand, like a machine by repeating vertical lines, the Practice are faithful reproductions of children's scribble patterns. The exercise carried out with great precision on very large formats offers a double reading by an apparent freedom of gesture and mind (from afar) and a technical constraint marking the excessive desire to reproduce them with the reasoned accuracy of an adult (up close). A reading suspended between childhood and adulthood.
The small-sized Practice focus on isolated accidents involving children in their original scribbles (a marker that falls, an untimely overflow on the table, etc.). It complement the large formats, such as an in-depth study of the "failure".
When you were born Mary Sue (it’s unfortunate but I was) you would go for it headlong and marker in the wind, if an handful of sheets and pens are unfortunately found under eyes and amazed fingers.But when you’re an artist (it’s just as bad, but it’s also my case) you have to scratch your head a minimum pre-partum (Need to find a good use for these damned pens). One in the other, and if I decide to exhibit my drawings, I should start at the beginning.
A beginning that looks like «that».
In the beginning, drawing was a primary language. Its representation is universal. The «scribble», a generous product from the first ages of life, produced at the request of «close sponsors» (happy of having found a way to fill in the temporal gap that precedes diner or bath time) is a manifestation instinctive and free from the stammering mind, which unwittingly seeks to correlate a rough thought with another gesture clumsy. This gesture is inherent in the spontaneous jubilant pleasure. The pencil guided by the hand unhesitatingly fills the space of the sheet with colored shapes that entangle, intersect and abound.
There is only one rule to the game: avoid leaving the field, under penalty of being confiscated by the referee (and the only holder of this rule) the magic toy that gives rise to a very relative abstraction, «totally nonsense!» -pretty certainly- but «totally nonsense!» anyway. No matter that the scribbles are systematically relegated to nothing, they remain the first drawings, the first drafts and therefore somewhere at the origin of art. (Let’s hear that chronologically -and this goes for everyone - they land just after « l’Origine du monde», that is, in a very good position to deserve special attention.)
Practice #1
Color marker on paper and passepartout
100x130 cm, framed, 2016
Practice #1 (details)
Color marker on paper and passepartout
100x130 cm, framed, 2016
Practice #4
Color marker on paper and passepartout
72x88 cm, framed, 2017
Practice #4 (details)
Color marker on paper and passepartout
72x88 cm, framed, 2017
Practice # 2
Color marker on paper and passepartout, framed ,100x130 cm, 2017
Practice # 3
Color marker on paper and passepartout, framed ,100x130 cm, 2018
Practice #4, #3, #2, #1
Color marker on paper and passepartout
30x40 cm, framed, 2019
Practice # 3
Color marker on paper and passepartout, framed , 72x88 cm, 2017
Practice #3, #2, #1
Color marker on paper and passepartout
30x40 cm, framed, 2019
Practice # 2
Color marker on paper and passepartout, framed ,72x88 cm, 2016
Practice
Exhibition view «Painting and Performance»
The Merchant House Gallery, Amsterdam, 2019