Sarah Tritz — Du fauteuil de mon roi rose
Du fauteuil de mon roi rose
Past: April 2 → 30, 2011
« …in one breath… »*
« The countess takes off her feathers and agrees to play with a stem rather than a whole piece of furniture. However, the stem must go back to the
tropical marble and lime-tree, otherwise it has no strength ».*
With this solo exhibition in galerie anne barrault, Sarah Tritz’s polymorphous work reveals her interest in space and in the way of making it her own. The artist shows her recent works tinged with anachronistic lyricism, in which architectural shapes mix with hercollages and drawings. This experimenting in constructing/deconstructing suggests avenues to danger and makes one go
The variations about her own referents, which cover art history and mark out its aesthetics, make her work candid and offhand as far as today’s aesthetics is concerned. This approach calls for an ambitious project, that of the revival of radical universal artwork. But is the viewer shown universal work , or is it a possible abuse?
Sarah Tritz does not eschew the problem of movement, that is to say, how to show it through her productions. Her pieces made immediately, more precisely, instantaneously, express time, temporality. The crystallized gesture binds us to her wishes, her dreams, her doubts. Both “structural” and “wild” is Sarah Tritz’s paradox about the sign of her movements. A piece of furniture thought as a plinth, fragments of disparate pieces, her drawings and collages made from memory testify to the multiplicity of her works. In the maze created by the various mediums and devices she scatters, the physical experience is part of an inescapable structure.
In addition to the deliberately awkward expression of some of her pieces, there is a very accomplished search for material. Like with her collages, the organization of her productions, in which the compositions are stratified by accumulation and saturation, suggests the artist resists when confronted with the object. In the heart of this environment, the configuration of the gallery is given a rough time, plasterboard walls are superimposed. This refraction cast into the space dedicated to the exhibition allows the transition of the time of expression to the moment of its appearance.
From these productions beyond any art classification, we get the measure of the drifts and diversions orchestrated by the artist.
*The quotations heading this article come from a talk between Sarah Tritz and Guillaume Hervier when this exhibition was being worked out.