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Elisabeth Roche Alazet. Emotion under the hairs of the brush.

27.09.2015

Informal Art



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Video : Demonstration of abstract painting. 
Elisabeth Roche Alazet. Painting : " Emotion ". 

 

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Elisabeth Roche Alazet. Emotion under the hairs of the brush.

Self-educated painter Elisabeth realizes with the acrylic paintings in the style of the lyric abstraction, the abstract expressionism or the Informal art. 
Popularized by Georges Mathieu, Hans Hartung or Jackson Pollock this form of art is generally spontaneous and intuitive. 
One remembers the performances of Georges Mathieu and his large sizes, often carried out in public. The Artist seemed to fight in a terrible fight with gigantic paintings, much larger than him. And one saw Georges Mathieu jumping in the air, to project painting in all the directions for, with final, in little time, and without preparation, to reveal us a harmonious and aesthetic work and which mysteriously speaks to us. Elisabeth Roche Alazet is in this register simply more than one explosion baroque her works express all the smoothness and the subtlety of the emotions or the feelings. When they paint these artists are in a state second. Directly in catch with their unconscious. And their unconscious knows the visual form of what Erich Fromm names “ the forgotten language ”. This language symbolic of the dream is the universal language of the human race. The psychoanalysis tries to translate this language into words but the unconscious one has also a visual language. Malraux called Georges Mathieu the Western calligrapher. It had noted that the forms represented by Mathieu pointed out the Chinese letters of the alphabet. (Whereas Georges Mathieu did not know this language). Our unconscious remembers the first signs and of the first symbols, this memory was transmitted to him by the simple genetics. Here what explains two things, the big number of abstract signs present on the prehistoric frescos that the archaeologists cannot interpret and the fact that we find beautiful aesthetic paintings which are not figurative. Moreover Elisabeth has a flair for the colour, the harmonies which she discovers have a perfect chromatic balance. With this Fabulously talent it should be hoped that with time the artist launches out in the large sizes, like Georges Mathieu, and more often explores the register of the explosion baroque with a rougher expression and hotter colours. But what it carries out already has a great aesthetic value.