Sophie Valette’s painting flirts with the abstraction in a set of flat tints of totally purified colours. The clear bottoms, often ochre but sometimes black , reveal dark shapes, punctuations of spots or Indian ink lines which fall under all their profound aspect, creating a prospect, an abyss, where the representation resumes then its rights. These grey areas indeed bring to light a cleaned universe, which seem to make diversion, catch your eye and move it away from the centre to appreciate better the global nature of her work. If the material is present, with delicate veins horizontally smoothed, like the ghost of the brush touching the painting or even more the brightness of superimposed layers like a scaled paint on a wall, it tends to become increasingly discrete, light, until completely disappearing. The painting then leaves its print on the fabric as if it was coming back to its initial function of fundamental vector to absorb it, to digest it and only restore its essence. When Sophie Valette puts her painter’s eye in the service of photography, her subjects become outstanding shapes in a purified space where black colour as light merge only in transparency.
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