Le
labyrinthe est venu
à moi s’imposant comme sujet pour déterminer la route que
devait prendre ma peinture. Eh ! oui j’étais perdue !
Il était temps de rassembler les morceaux de mes désirs de ma
vie, car je constatais que ce n’était pas si simple à la
fois de se connaître, d’être, de monter, de paraître,
d’exister. Je survole la vie eh !! me voilà sans prévenir
dans les profondeurs de mon chaos.
J’explore les labyrinthes et chemins comme une recherche de soi sont les
chemins de l’être. Les chemins de découverte de l’être.
Quand je peins, j’approche mais aussi m’éloigne de moi-même, l’action de peindre est empreinte de l’esprit qui devient matière.
Une idée m’intéresse , une forme m’interpelle et m’inspire, la forme, le geste , l’assemblage, la colle, le vernis l’eau, le feu, le pigment, la lumière, les ombres, les reflets, les noirs…..sont une multitude de combinaisons possible . La construction issue de l’imagination et l’expérience prend forme.
Je crée une série de tableaux, j’ouvre une porte un chemin et comme une sculpture au fur et à mesure la pierre s’affine l’idée s’épure et l’expression parle aux sens. Une image directe les idées surgissent comme, de mon cerveau.
Jeu
de symboles, références aux mythes, outils et matériaux
et autres satellites qui gravitent dans ma pensée. Je reste concentrée
afin d’être réceptive, je suis le pinceau et la brosse.
Une façon de dire sans mot. L’expression est silencieuse.
J’entre en observation avec ma façon de peindre. Je compose des
séries de dessins et peintures sur divers supports. Mon esprit joue avec
les formes et mes mains expérimentent les techniques, les outils,les
textures des matériaux etc...
Je travaille tout d’abord sur des petits formats que je sélectionne
ensuite afin de réaliser une nouvelle composition avec les dessins et
croquis sélectionnés. Chaque surface est un nouveau départ,
nouveau support. Je juxtapose les dessins en utilisant toutes sortes de papiers
les bases de la composition sont en place.
J’ai pris chaque dessins comme un chemin. La distance kilométrique que nous connaissons avec les routes figure par le tracé.
Les assemblages et les collages sont l’espace de recherches de matières, matériau, ficelles, laine, plumes, cire. Elles vibrent de leurs textures, et commencent à déposer des teintes sur la toile.
Pascale Hulin
The maze came to me forcing itself
as prone to determine the road my painting was to take. Eh! Yes I was lost!
I explore mazes and ways as in
a search within oneself, within path of being, within ways of self discover. When I paint, I move towards
but also away from myself, the action of painting is a spirit print which becomes
matter. One idea can interest me, a form
questions and inspires me a shape, a gesture, an assemblage with glue, glaze,
water, fire, pigment, light, shadows, black colour and reflections….as
an infinity of possible devices. Construction from imagination and experience
begins to be created. I create a series of paintings,
I open a door little by little, like a sculpture the stone refines, the idea
purifies and expression speaks to senses. Like a direct picture, ideas arise
from my mind. Symbol games, references to myths,
tools and material and other satellites revolve round my thoughts. I remain
concentrated in order to be receptive; I become the round, the flat brush. I observe my way of painting.
I compose the series of drawings and paintings upon various frameworks. My spirit
plays with shapes and my hands try the techniques out, the tools, the material
textures etc. First of all, I work on small
sizes which I then select in order to carry a new composition out with drawings
and selected sketches. Each surface is a new start line, a new foundation. I
juxtapose drawings by using all kinds of papers; the composition basis is in
place. I took each drawing like a track.
The distance in kilometres that we know with the roads is outlined by the layout.
Assemblage and pasting are the
background of matter research, materials, strings, wool, feathers, and wax.
The textures start to vibrate and deposit colours on the artwork. Matter reveals the references
to myths, ways of creations through signs, lines and contemporary writings.
The sign turns into symbols and the symbol turns into signs. We live with a
rich iconography. My work explores many techniques,
painting with water ink, oils, fatty chalks and pastels, paper and object pasting.
Works presented here are an interpretation of the myth of the labyrinth. I search for getting close to
visual feelings resulting from photographs of the cosmos, small painting lost
in the infinitely big, where the infinitely small rejoins the immensity.Mazy experience
It was time to put together all the pieces of my desire in my life.
I noted that it was not so simple to know myself, to be, show, appear, and exist,
at the same time. I flew over life eh!! Here I was without warning, in the depths
of my chaos.
It’s a way to say without words. Expression is silent.
Mazes are roads to creation.
Plastic elements used reveal my affection for probability representations as
wild nature is.
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"Realized by Pascale Hulin, this assemblage series is a construction masterwork of which complexity only equals the feeling of freedom that its fabrics release. Original materials lose their identity to be transformed into visual feelings, thus becoming true supports of a pictorial language.
Contrary to the traditional labyrinth, each painting belongs to a network offering an opening towards what can be called a voyage where each one of us finds a destination.
It is fantastic to think that artists, through their artwork, can offer you through contemplation alone, the exploration in depth of landscapes you are the only one able to imagine.
It is a kind of game Pascale Hulin suggests in all sincerity, where friendship emerging from her first contact does not result from our imagination.
(Article published on the site of the newspaper of Ormois)"
*******************************
The act of creation is the painting subject; the symbol is its guide.
Collapses, chaos, sudden falls in the labyrinth are the ingredients of the ideas clash, a search for peace, a realization of the being; stuffs and chaos little by little leave place to calm. Labyrinths, targets, mandalas, snails, spirals what a lot of signs to find oneself.
I find a connection between unrestricted ways and itineraries we find inside labyrinths. And I interpret them by incorporating labyrinths drawings.
I
stick them and tear them off; I paint spaces and erase to cover them. Through
asperities and remains, matter emerges.
Listen to the sound of the papers which are torn off, newspapers crumpling,
and newspapers of all countries. A journey to Paris and I find some international
news, my friends bring me back bus tickets and other local useless papers from
other journeys.
A labyrinth drawing is a course made up of choices and those choices can generate doubts. How to connect a plastic practice to an interpretation of labyrinth concepts?
Painting shows elements of repentance in the forms of drawings which are marks of actual doubt reflecting the same state when choosing the way to be followed in mazes.
The labyrinth image comes to us, carrying its major difficulties, like the way to follow to reach the centre and meet there the battle of two character, spirit and matter, so that the entire being expression is reborn.
Thus
any gesture, several drawings, erased, wiped paintings, the gesture is a course,
an expression of fight in order to take from the spirit the forms and direction
of a material basis, of a vague and abstract idea.
Thus several lines and several ways could also be made and remade, cut out or
torn drawings or paintings
The geographical map represents ways and networks, a motionless voyage.
The labyrinth is a place of initiations and births, deaths and rebirths.
A page is flown away then delicately laid on an apple tree. The book opens up like a tactile painting. It is a small voyage book, on a roadside, I discover the landscape, it is necessary to turn the page to find images.
Painting is like a search for oneself, for who I am, and what I came to do here, what to understand, so many questions appear in inner signs, environments, colours and topics.
I
am not interested in painting a landscape; I look for an interior landscape
I build with my feelings and my experience, my life emotions ; life stages,
its meetings and accidents, illness and its whys; life experience language through
imaginary and dream images.
All ones feelings I try to express.
My life experiments are the main subjects of my paintings, it goes through topic
research, like interpellant and questioning dolls about woman’s place
and her femininity on earth!
The
labyrinth is a questioning and search for the centre, my centre. My explored
tracks are almost factitious and intervene more as working method guides, an
arrow, a direction or a way.
I express myself with reference to the abstract figurative tendencies, lyric
abstractions, matierist art.
I think visual arts have placed at my disposal many forms of expressions and developed tons of questionings and I use what can help me to develop my plastic research. The words expressing feelings, the beauty of marvel, and the sublime seem so poor to me, thus carry me down here. In short, it is not the subject which counts, it is EXPRESSION as a power of creation, amazement for what comes out of the brain, hands, eyes, colours, multitude of possibilities, diversity.
Dedale,
means “good construction” in Greek language.
My painting is inside me. My mind goes inside material depths; creation is amazing
and puzzling. How can I imagine all future artworks and how will they be like?
My curiosity wakes up and grows up along with new creations.
I hope I will do many of them again, explore mazes and roads like a search for
myself.
Traduit par Pierrette Lalo