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Variations, 1982 |
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About this series
16 paintings and mixed techniques, foreshadowing the following series.
Already, the plastic cells are coming off. They move forward and backward. They go up and down. They are always in motion. Superimpositions prevail over compositions. The gaps, cleavages, and oppositions sketch out cerebral landscapes, which Micheline LO's left hand, writing and painting, will produce for 20 years. Her paintings and drawings were cerebrally “borderless”. Most of them originated on supports spread out on the floor or on a work plan. They were only placed on a frame afterwards, sometimes with reluctance. What Micheline LO said about it
Researches underway.
What Henri VAN LIER said about it
When she started to paint, one day, with no previous practical training,
after she had turned fifty-three, Micheline LO began making a few copies
of works by Van Eyck, Rubens, and Velasquez. She visited their cerebral
landscape, not in an attempt to capture their picturesqueness,
but rather to divine the connections and the cleavages in their
underlying brains, together with their metamorphoses.
One becomes a surveyor, once the transformations in a given form have been apprehended. Her first copy of Van Eyck was an homage to Cézanne, and she bestowed the title Montagne Sainte Victoire on her depiction of Arnolfini's head. . |