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Corinne Chaufour Drawing from a point between reality and illusion, these images evoke a distant memory of the past which borrows from expressionism and which is based on a personal mythology, at once dark and infantile. Thus the image of a train, a wheel, a ball, a rabbit (the infantile) is used as a bridge between the familiar and the strange in a mood that alludes to the scintillating monochromatic images of Charles Laughton's "Night of the Hunter." Each drawing can therefore be likened to the thread of a melancholic daydream, to the awakening of a sleepwalker who is reluctant to leave the darkness of his sleep. My drawing is no more than a kind of compulsive writing that emerges brutally and unrestrained from all the vectors of the moment. I like the sight of a plane seen against a flat sky. It makes me think of something that is moving towards nothing but that leaves a white line, the trace of a written trajectory: a sudden drawing. To Draw: - To not talk - to inscribe words...alphabets... shapes... the points of the compass ... stars ... numerals... figures: a train, a house, a moon... In drawing doors without a house, a ruin made of dots, cosmic points or the tragic back of a rabbit; I am tracing a personal realm or maybe signs and indicators of another reality that is intimate with the strange and invisible. To get as close possible, as often as possible, to the invisible. In this instant, the invisible may be a ball, a sphere, a stone shaped by its own mystery. There is no end to the drawn image. The ingrained line suffices. The vision loses itself on the way to its final destination like an absurd and aimless wandering. I was once told that the hare is a big animal, that is, larger than one usually images. I can image my drawings being larger than they are. I dream of barns, very large barns in which I would place equally large drawings. A large hare runs down the lane that leads to the barn. My line runs through the drawing like the flight of the hare, as one drawing gives way to another, in one uncontrollable gesture: a hail of lines, a swirl of graphite shavings. Each drawing starts
with a daily choice that leaves me with no option but to become
completely overwhelmed by the process of drawing (of chasing the
hare). The intensity of the process then propels me through the
mirror to a point of exhaustion, to the point of blindness. I then
ask myself: Why draw? |
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