When she talks about her painting, Marlène Raymaekers makes it clear that, for her, painting and psychoanalysis are intimately link Myriam Papillon .
When ask, she can confide her relationship with painting, in small touches – it is through the touch that the identity of the painter is recogniz. Beyond her studies at the Antwerp Academy, her meetings with painters in Paris Myriam Papillon .
her stay of several years in Japan where she studi calligraphy with a great master and where she undoubtly refin her gesture which gives strength and movement to her characters and their bodies; beyond this classic journey, some founding and decisive moments slip in.
Seeing her father draw Myriam Papillon a small car
when she was a child, irresistibly push her to draw and paint everywhere and on everything… Later a dream invit her to turn to the great Flemish painters and made her happily reinterpret the paintings of masters… And mobile database then an abandonment of certain ideals to decide, for a few years, to settle in the provinces to devote herself “simply” to her painting…
The calm assurance she claims of the link the power of data in customer loyalty between her act of painting and psychoanalysis has given rise to the proposal to open her exhibition “Body and Landscapes.
From the screening of the wonderful film by François Catonné, “Vladimir Velickovic, the choice of black” [2] , the painter’s body was present to us from two angles: that of the representation of the body
Museum advisor at the DRAC
focus on the representation of the body in painting. He began by presenting the Isenheim altarpiece [3] . In the crucifixion scene, the mieval figure of Christ became a model for representing the “man of sorrows”, the one who takes upon himself all the pain of men. The body of Christ, until then magnifi and “sanitiz” in betting email list his pictorial representations, appears in the altarpiece, mark with wounds and thorns; the tensions, the deformations at the level of the nail hands and feet are palpable.
This representation innovates by favoring expression above all, even at the expense of the laws of perspective. It remains a reference. This is quite explicit in the work of Velickovic, an artist deeply mark by the war in Yugoslavia.