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About this series
10 paintings, inspired by the variations of Micheline LO's painting hands.
What Micheline LO said about it
Although the painter has produced a few oil paintings, his favorite medium is acrylic, because of the speed it allows.
The Grumbacher brand, chosen for the purity of its colors, gradually disappeared from the market, and this was a moment of crisis.
What was first called Adieu à Grumbacher created hands of regret, hands of appeal, and hands of restoration through the grace of variations on the ten fingers. The fingers they jump, they spread apart, they cross. What Henri VAN LIER said about it
Certain cosmologists, as Lachière-Ray, would fain repeat that they should be able to explain themselves using their hands only.
This is all the more true for cosmogonists, which may explain the number of hand prints left by Homo on painted rock walls more than thirty thousand years ago.
The hands best sum up the technical and artistic gesture of Homo, the angularizing, orthogonalizing, transversalizing, and exchanging primate. They are perceiving and perceived, subjects and objects, sources of analogies as modeling, smoothing, planishing palms; and of digitality as fingers, the first abacus. Panoply of index finger (Zeigefinger) that designates, by contact or from a distance, equally well the edible prey (here, now) and the contemplatable power and justice (elsewhere, some day). Micheline Lo's Les Mains were those that painted-and-wrote the Chemins des écritures, more abstract than concrete, and more distancing than bringing closer. For them, digitality foments analogy, more often than the reverse, and the impatience of the organ creates the purpose more than it obeys it. |