Clédia FOURNIAU

Clédia Fourniau sees her work as an archaeology of colored layers, transparency and light, where painting questions the body's relationship to space, and the conditions of perception and reception of an image.

She works flat, accompanying the liquid material by lifting her canvases stretched over wooden panels. Tinted in the mass, the layers obtained from acrylic dyes and inks mix randomly. They are then set with a polyurethane resin (commonly used to varnish boat hulls). The latter gives the object-painting such a shine that the surrounding space is reflected as if in a mirror.

The electric palette plays on the ambiguity of the work, somewhere between a goldsmith's piece and a radioactive block. The small-scale works can be placed like a book in a library: anyone can touch them, mirror themselves in them. In this way, she questions the gesture and nature of the work, "between painting in volume and flat sculpture.

The process is already at work, and the formal result is not the only issue. Clédia Fourniau doesn't seek to fix or finish a painting, so all-over is made up entirely of overlaps, of never-ending repentances. In a work that is always serial, almost assembly-line-like, the canvases are produced simultaneously, and referenced by serial number, like specimens of an experiment.