The Opposite Balance
A Solo Exhibition by Muriel Rodolosse
Shirin Gallery is pleased to present The opposite Balance, featuring the paintings of Muriel Rodolosse. The Show surveys the artist's recent works and installations.
Muriel Rodolosse wonders about the fragile balance of the environmental situation. She questions man’s notions of nature in her paintings. Linked to current discussions concerning our change of geological epoch, the Anthropocene, her reflection questions reciprocal actions that change the behavior and properties of elements, bodies, and phenomena. Her vision of a continuously disturbed nature is removed from references and the “permanence” of modernism.
This multi-layered reverse painting on Plexiglas bestows expression and meaning on every day between apparent normality and catastrophe, in a society divided between lust for life and loss of trust, extreme distress and never-ending hope.
“My practice recognizes the interdependence but also the equivalence of all the kingdoms and genres, in each of the three traditional divisions (animal, vegetable, and mineral) in which natural objects have conventionally been classified.
As such, I seek to go beyond the authoritarian, essentialist and ultimately arbitrary classification system by disrupting not only the notion of painting genres but also the nature of beings and elements, the relationships of scale and hierarchy towards a form of painting that is “anti-taxonomist.”
Muriel Rodolosse paints on the back of the Plexiglas. She has never painted on canvas, refusing the authority of its texture and flexibility, preferring smoother and more neutral support. She has adopted this technique since 1996. Plexiglas, which is rigid and transparent, enables the initial plane of the support to be bypassed to go directly to the back with the paint. In this way, she builds a painting in reverse; she begins with the details and ends with the background. The hierarchical organization of the plans is therefore reversed, sometimes combined with certain recent works. In this movement between the exposed smooth side and the inner surface, backstage in a way, the place of the paintings exists between what is shown and what is hidden. Starting from the idea that behind what we are looking at, there is another hidden side. Muriel Rodolosse reverses the perspectivist vision of the window open to the world and questions the nature of the observed work, from the other side of the support.