Our recent work for “ROUGE” included images that are often close to abstraction but still based on reality: an existing material or surfaces, recognizable. Absolute abstraction was never totally achieved, it was our choice. Approaching the border between fantasy and realism is fascinating and playful, associating the imaginary and the real, combining dreams and origins.
Because the light is our brush, we wanted to continue to play, to dream, to look even further … To drill holes in the blackness.
Now comes NOIRS (blacks).
Black does not mean sad! It is beautiful because, by some kind of self-sacrifice, it allows us to perceive, to observe and to discover the light and the colours, therefore the matter.
In our culture, the relationship between NOIRS and colour is not as binary as one could be tempted to think. If the absolute black absorbs all the wavelengths, it would be characterized by an absence of colour but the reality is very different, much more surprising!
Very rarely pure, black is linked to colours.
It reveals micro-details, trends, influences, so that each point shining more or less makes us apprehend one or more isolated or dominant colours, because it leans on the material, accomplice of the light. As such, black is not unique, it is fundamentally multiple.
But this multiplicity remains mysterious: one speaks easily of “deep black” and curiously never of “light black”: if it is deep, the black could not it also be revealing?
The black is the origin. As soon as light and matter appeared, different blacks emerged, protean, multiple, sensitive and fragile.
I love as much the black that is coming from the deprivation of light as the black reflection of the non-reflection, a sort of anti-light, which does not reach us because the matter prefers to keep it for itself.
Two initiating ways that take us to the NOIRS and their almost parallel worlds that we discover if we do pay attention. Then the NOIRS promise us colors, lights and materials, a blue ray that slips between shutters, a city glow beyond a hill, a golden shadow on a vine, a metallic luster…
The NOIRS underline, reveal, make us aware of the so close richnesses. Magical, simple, every day.
Because, for this studies, we took as starting point material or spatial realities, favorable to the imagination, one can be tempted to recognize leathers, minerals, wine cellars (Angélus, Clinet, Doisy-Védrines, Tour Saint-Christophe , Ballande & Meneret), road, mountain, water, fire, sea, stars, ink. But do we really need these identifications? These are just origins.
Suspensions of moments highlighted by NOIRS…