This important volume brings together the notebooks and the texts and interviews of Monique Frydman. She has always “rationalized through words” what goes on in art.
The collection illustrates how the artist’s artistic language has continued to evolve in order to overcome various obstacles on a path that began with her abandoning her artistic practice in 1967 after graduating from the Fine Arts School, when she turned to militant activism.
She returned to painting after a period of creative rest but in which she found her marks and identity through feminism and the exploration of her Jewish origins and the tragedy of the Shoah.
As a member of the postmodernist generation of the radical deconstruction of the painting, practiced by the group Supports/Surfaces, the painting object, the frame and support become for her an exploration of the of the richness of the drawing and its value of re-presentation.
Certainly – and in parallel – the body will remain present. But its “play” and its role evolve in her large abstract paintings of the 1980s. She then began to work with strings dipped in color.
The strings are placed on the back of the canvas and then moved to create suspensions of paint, drawing, lines, surfaces in series of colors, twilight or sunlight, whose mass, suppleness and vibration she experiments with.
It is a very important book that specifies the determining role of certain creators in the progress of art: from Cézanne to Rothko, Pollock, de Kooning, de Matisse, Bonnard, to Sassetta, Le Greco and the parietal frescoes of Lascaux.
The strategy of the work becomes clearer and a clarity stands out behind the twists and turns of her journey where the presence of abstraction is not only metaphysical or mythical but a carnal way of considering the melody of colors and materials.
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