At the very beginning my work had an important narrative content and was often inspired by my autobiography. I was at the time concerned by questionings of appearance, the relation between the envelop and the hidden. My researches were based on staging of objects, the diversion of their symbolic and referential content. Then came the wish of an other kind of images, which were not so direct so theatrical. I also needed more simultaneity between the idea and its achievement.

At this moment I began to develop a drawing work which became more and more important.

The drawing process always begins by trying empty my mind to clear it from anecdotes and intentions. By forgetting I find back. At the contact of the paper, the impressions reappear on the surface. I try to let the drawing happen, the material leaving its print on the paper. The drawing finds its own structure, follows its internal pattern, which relies on the material chosen, the movement of the body, and the state of mind at the very moment.

I’m trying to put dexterity aside as well as the need of narration. Forms and colours are veiling, masking, diluting, erasing each other. Mistake doesn’t exist, the clumsy or inadequate gesture make me go on, transform and rectify. The drawing transforms itself until its equilibrium. It becomes a landscape in itself with its imperfections, its full and empty spaces.

The paper is for me a mental space, an arena. It is a microcosm where energies are spreading.

Drawings requires humbleness. I have to be in the instant, in the line.

Like in my older works, the questionings of appearance and the hidden, of the surface and the underlining are still very present but they have an other meanings. The referential image disappeared. it only remains memories of images. Italo calvino in his “six memos for the next millenium” uses the metaphor of the hedge above which we can only catch a glimpse of the sky. In the lack of visibility, the imagination begins. Similarly I want that the drawing hides more that it unveils.


Emilie Satre, July 2006
 






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