Biography

The secret hidden into light

 

In a certain way,there is no painting from Françoise ROHMER. But it could rather be said that there is a life of Françoise ROHMER with painting

For the question she asks painting is finally so mush the very one of utter life. One could say, parodying Robert Filliou’s thought, that painting is for her what makes word and life more interesting than painting…….It is from the events of things that pictures extract colour and light, that is to say –fundamentally from the very event of the event that causes a world to exist . Painting and drawing present themselves as feeling that the world need no coronation from outside world because it is itself the coronation. The saving of the stoke, this will of defining space only by space if wanted ,the pureness of pigments, all this causes us to think of Manuel Rivas’ remark which says that “this secret has nothing to do with darkness, the secret belongs to light” (l’éclat dans l’abîme, “ Gallimard 2008)

 

In her artists’ books, Françoise Rohmer plays with the disappearing and the recovering of the text as to reveal that what art means it realizes it physically.

In this way, she examines the question about the meaning of presences without an²²²²²²²choring them in a previous signification. Heinrich Wolfflin would pretend to pull away art from the only historians of art by showing that the question of artistic forms was less important than that of knowing how men test themselves with them that behaviour they draw from them facing reality to feel it and understand it .It is on such a philosophy that Françoise Rohmer bases her process. Perhaps, for her, the act of painting, eminently, constitutes one of these” emotional experiences of space “which Pierre Kaufmann talks about in a book entitled so (vrin edit , 1967).Painting does not at first produce pictures. It sets a space with produces a world and which makes it habitable; which tames the immensity but keeping it quite complete. This rejoins this idea of a pictorial utopia closely combined with the conspiracy of the feeling of hostile which Françoise Rohmer sometimes speaks about .how can painting make us better that is to say: help us “to love the world all around us “by inducing its understanding in a hostile way by both body and senses. Entirely feeling the existence of things is the way of being conscious of oneself by elision of their modalities of being to the profit of the single miracle that they be …………….

 

Presence in painting is given in a paradoxical way: It bounds our power of representation at the very moment when it increases “a contrario” the effect it puts before the eyes.

In Two words, it is visual oxymora, at the same time a clear and dark view. It is there totally perceived, but in the same time forgetting for a part what is perceived .Prehension there becomes contact. As in a visual sirens’ song. There is an expressionless expression of the thing of painting which explains its intensity.The expressionless is what makes impression without “meaning» we are delivered to what Jankélévitch called “the paradox of the evasive rigour” and which was generally the secret of intense for him. Françoise Rohmer ‘s painting realize the performance of representing the indefinite character of any impression of presence (“it is there”, “the world exists”)in the same time as the activity and the uncommon sharpness of any really embodied presence .from which comes the feeling of paradise with no word which arises when meeting them. Remembrance is in the heart of the artist’s process, but in spite of subjectivising the real, of making it “psycho degradable “it is inclined only to remember the effect that it made just before being remembered.

To let it to its secret indifference and its imperious objectivity. Bachelard used to say that one doesn’t remember that things have lasted but only that they have been. Françoise Rohmer’s painting is the art of “that is all”, simple and poetical without any nostalgia because she does not leave the always nascent moment of presences that she summons and of which she remains from that time, obscurely contemporaneous.

 

 

Alain Chareyre Méjean

Professeur des Universités

Directeur de recherche Esthetique et Philosophie de l’Art

Paris

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