| The New York Optimist |
 |  |  |  |  |  |  |  |  |  |  |  |
| © MMIX, The New York Optimist. All Rights Reserved. The New York Optimist & www.thenewyorkoptimist.com is a registered trademark of The New York Optimist. The New York Optimist is a registered service mark of Thenewyorkoptimist.com. The New York Optimist logo and original photos are a registered trademark of The New York Optimist . All other photos are property of the advertiser. And are rightfully protected under their copyright protections. |
SHARE
| catherine Perrier |
| Cries and Whispers |
| Life In The Folds |
| Les Erotiques |
| Written by Knut Navrot She started to work. She is not alone now. Tucked between two tutelary presences, it invests two spaces to protective properties: the kiss to mom, grandma's garden. It is the intermediate space. It fits in-between. And three generations are based in one: it ... It's there. Beyond the nudity. Deep in her nakedness. Presence bluish suspicious. The bone architecture can be sensed between transparency and opacity. Exposure and the clinical reality of the picture fades in favor of a mystical vision of the intimate. These ectoplasmic forms evoke a divine apparition, soft and enveloping. Transparency. It is she who makes the link between the three spaces. eye excavation strata secret. It focuses on the latest plan, seeks a lock of hair or the curve of a cheek. He slips slowly, voluptuously on the smooth surface of radiography and finally hangs on the front ... Unless the order is another matter ... because every look digging work actively sought this process of fusion. L The challenge is there. Finally, tiny flowers and other small items Dapper fabric floating, weightless. These small volumes are bitten in the plans. The sting of the needle operates another form of link across the layers. Thus three operations ... transparency ... look ... bite ... realize the merger prospects. While rooted in the desire of the intimate darkness born. |
| Vanities |
| undress me |
| dark Desires |
| that time she had not thought of him |
| Catherine Perrier has with memory a special bond. On the table material and mental creation, it operates in open storage. Memory is not regarded as an end in itself but a means, median, medium. Plastic form to which it succeeds is not to be interpreted restrictively as the memorial celebration of a mythical past, nor as the expression of an idealized nostalgia exacerbated. We see the crucial role of memory that CP has not on the mode selected commemorative souvenirs and collectibles, but the creative mode of invented figures. According to this mnemonic operation inherent in its aesthetic outlook, it seems that CP does not remember but ressouvienne. She ressouvient: remembering, from evidence in the real seized and taken in by the imaginary dimension is created. The past is not a shrine, it is experienced as an event to this intense sensations, in the real innovative work. Works CP blocks of space-time, just like other working of marble blocks, provided that the materials to be immaterial, the space and time are not less real than marble blocks. It is with the space it triumph barriers of time. It passes through tissue memorial, psychic, dream, fantasy, and somatic, such as a slider sensor extremely sensitive and always alert receptive she takes elements of the real intimate private and social reality of the real intimate and private world Joel Couve |
| The confrontation of two worlds juxtaposed: From the body and mind, space and time, the living and the dead, born this in-between tenuous that rises to the consciousness of the heart of silence. A silence that beats to the measure and excess In a secret life From a hidden yearning Tremors delicious Chaos of uncertain Disordered offenders War dances It is in the acceptance of those paradoxes that silence opens the door "against life". We then understand the secret worlds. |
| The bellies 48 x 48 cm pastel |
