L'Avancée Mathilde Rossello
Located in the heart of the café-library of the new Pernod Ricard Foundation, l’Avancée is an exhibition space dedicated to emerging artists. A way to extend the exhibition space into the living space and vice versa. L’Avancée is also, possibly, a promontory or a ridge for all young artists, still students: a way to move forward, a little timidly, by playing on the surface of a wall that will soon, in the exhibition spaces that they will not fail to invest in the future, will not cease to multiply. With this new initiative, the Pernod Ricard Foundation reinforces its role in the young artistic scene in France.
During the 21/22 season, the Pernod Ricard Foundation invites the Beaux-Arts de Paris and its « exhibition professions » program.
As part of our collaboration with the Beaux-arts de Paris, Mathilde Rossello (b. 1994) inaugurates the « L’Avancée » program with a pictorial installation entitled « Vinalement Eva vacille » presented in the Foundation’s café-bookshop.
Mathilde Rossello Rochet was born in 1994. She is currently in her final year at the Beaux-Arts de Paris.
« In my painting work, I am mainly interested in the representation of the body. Before the stage of painting which is carried out in the workshop I write, I draw and I put myself in scene in photographic self-portraits which I sometimes integrate into my paintings. The representation of the female body in cinema has recently been a strong source of inspiration. My interest in narrative and poetry, however, persists as does an attention to the relationship of the final piece to the exhibition space and its visitors.
The formats of my paintings are almost always identical. They oscillate between one hundred and fifty and one hundred and sixty centimeters high and one hundred wide. They are large enough for me to make large gestures and small enough for me to handle them. So when I’m working I can turn them around, lean them against the wall or lay them on the floor.
Once the panel is attached to the frame, the support is ready. I have a blank space in front of me, a playground on which I can express myself freely while summoning my imagination and images from various horizons. This work of collage of forms, colors and words in the painting allows me to put things flat, to better see what surrounds me. Using a wide range of tools, I develop a whole repertoire of gestures from which the forms of my paintings are derived. On my wooden supports I work with a brush, a roller, a felt-tip pen, a pencil, a spray can, tape, a cutter, wood chisels, I sand, I cut, I glue, I pour the paint directly from the pot. My gestures are alternately fast, slow, I can repeat the same gesture several times, or repeat it in different places of the image. My movement can be circular, zig zag, jerky, shaky…
These gimmicks that I develop come from American abstract painting, comics, cinema, theater, novels, or even poetry. I am influenced by various authors, Ed Ruscha, Christopher Wool, Michael Krebber, film credits such as Pedro Almodovar’s Attache-moi!, Samuel Beckett’s plays, Guy de Cointet’s protean work, Lily Van der Stokker’s murals or Mariette Navarro’s poetic tale Alors Carcasse. In the exercise of mural painting I replay my gestures of the studio by adapting to the exhibition space, I then hang the painting on top. Here it is surrounded by new signs that change according to the exhibitions.
In the installation Vinalement eva vacille, the painting at the border between the figurative and the abstract was built vertically from the letter V. Once the support was put horizontally, the two « V » changed into two squinted eyes. The short poem written on the wall sets the beginning of a narrative, depicts a language game and the relationship between the painting and the visitors.