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All work of art involve seduction, all artistic endeavours try to capture one's attention and, in order to do so, charm those they address. (...) The basis of Emmanuelle Villard's painting, however, is certainly procedural. She herself maintains that, from the choice of "certain tools (pots, syringues, pipettes, etc.) (...) specific manipulations and gestures flow". In accordance with a particular desire to set a distance (a paradoxical distancing, as we have seen for the viewer, and as we shall see for the artist), the painting is the result of handling that leaves the materials as somewhat free reign. This aspect has been sufficiently touched upon by Frank Lamy for me to dwell on it any longer : "to get involved in this gesture and make it quasi autonomous, without any other content than itself. For it to mean nothing, outside of its own appearence. Wich does not in the least interfere with the sense of rising to the surface, coming out. But elsewhere perhaps. (...) Taken from the article "It really is a question of seduction we're looking at all the solutions" by Eric de Chassey, in cat. Emmanuelle Villard |
