Elsa Lopez – 2025<\/p>\n\n\n\n
E\u2237\u22a1◽◻◼<\/p>\n\n\n\n
\u201cL\u2019abstrait me d\u00e9sesp\u00e8re, il m\u2019\u00e9chappe\u201d, d\u00e9clarait Violette Leduc. <\/p>\n\n\n\n
C\u2019est dire s\u2019il soul\u00e8ve interrogations, malaise et r\u00e9ticences. C\u2019est dire si l\u2019on n’y comprend rien. Mais que faudrait-il comprendre ? <\/p>\n\n\n\n
\u00c9nigme pos\u00e9e par votre peinture\u2026<\/p>\n\n\n\n
Je me sens perdue devant elle. Elle est comme le soleil cru, aride, et aveuglant au sortir de la caverne, ombreuse et douce\u00e2tre. Et dont la vue peut choisir de se d\u00e9tourner : on ignore, on m\u00e9prise, on en appelle \u00e0 l\u2019infantile \u2013 \u00eatre amoindri, d\u00e9nu\u00e9 de techniques et de savoirs. <\/p>\n\n\n\n
Paradoxe \u00e9trange. <\/p>\n\n\n\n
J\u2019entends souvent dire qu\u2019il faut \u00eatre \u00e9duqu\u00e9 pour comprendre l\u2019abstrait et que c\u2019est en cela, qu\u2019il serait moins puissant, moins int\u00e9ressant, que le figur\u00e9. Mais n\u2019est-on pas au contraire largement \u00e9duqu\u00e9 au figuratif\u202f? Habitu\u00e9, structur\u00e9, format\u00e9, \u00e0 reconna\u00eetre, \u00e0 saisir une nature morte, un paysage, un mod\u00e8le vivant\u202f? Ne nous a-t-on pas appris qu\u2019il s\u2019agissait l\u00e0 du Beau, du Bel Art\u202f? N\u2019est-ce pas justement ce m\u00eame regard que le prisonnier confiant pose sur les simulacres de sa caverne, l’\u0153il docile, et longuement poli\u202f? <\/p>\n\n\n\n
L\u2019abstrait m\u2019\u00e9chappe parce qu\u2019il m\u2019\u00e9vade. Pour la premi\u00e8re fois, je ne suis plus soumise \u00e0 la doxa. Je suis libre. D\u00e9sesp\u00e9r\u00e9ment libre. Libre \u00e0 en crever d\u2019angoisse. On sait ce que la libert\u00e9 subitement recouvr\u00e9e a d\u2019effrayant\u2026 Affranchi de la mimesis, lib\u00e9r\u00e9 du clich\u00e9, le regard s\u2019\u00e9claire d\u2019une exp\u00e9rience affective et philosophique. D\u00e9lest\u00e9 de toutes ses protections mentales, il se livre \u00e0 la sensation. Les choses et les objets du monde s\u2019\u00e9vanouissent derri\u00e8re l\u2019explosion du sentir : lumi\u00e8res, mouvements. Que voit le prisonnier qui n\u2019a encore jamais vu le ciel, sinon le d\u00e9cha\u00eenement de couleurs et de formes inconnues\u202f? De l\u00e0 surgissent des impressions \u2014 intrins\u00e8ques, impr\u00e9visibles, inassignables, et hors du temps. Votre peinture est sans m\u00e9moire ni perspectives. Elle est cr\u00e9ation fulgurante et nous \u00e9chappe comme tout ce que l\u2019on ne peut ni comprendre ni retenir. <\/p>\n\n\n\n
Elle n\u2019est ni causale ni narrative, mais soudaine. Pure effraction. Pour en arriver l\u00e0, il vous a fallu plonger dans la Crise, et m\u2019entra\u00eener avec vous dans la catastrophe. Abolir les pr\u00e9jug\u00e9s, l\u2019opinion, la doxa, pour atteindre la vision nue. \u00c9chapper \u00e0 toute pr\u00e9-vision. <\/p>\n\n\n\n
Votre peinture remonte \u00e0 ras d\u2019existence. Elle fait table rase, d\u00e9construit les r\u00e9flexes de pens\u00e9e, les repr\u00e9sentations pr\u00e9con\u00e7ues. Elle produit l\u2019inconcevable. Il n\u2019y a pas d\u2019autre fa\u00e7on d\u2019exister que de r\u00e9sister : \u00e0 l\u2019opinion, \u00e0 la honte, \u00e0 la servilit\u00e9, \u00e0 l\u2019utile. Lib\u00e9r\u00e9e des limites impos\u00e9es, des t\u00e9l\u00e9ologies de la vie quotidienne, pour ne plus \u00eatre an-esth\u00e9si\u00e9e par leur fonction prosa\u00efque. Qui pourrait alors soup\u00e7onner les limites d\u2019une telle peinture ? <\/p>\n\n\n\n
Enfin autoris\u00e9 \u00e0 d\u00e9lirer, \u00e0 fantasmer dans toutes les directions\u2026<\/p>\n","protected":false},"excerpt":{"rendered":"
Elsa Lopez – 2025 E\u2237\u22a1◽◻◼ \u201cL\u2019abstrait me d\u00e9sesp\u00e8re, il m\u2019\u00e9chappe\u201d, d\u00e9clarait Violette Leduc. C\u2019est dire s\u2019il soul\u00e8ve interrogations, malaise et […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-548","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.fredericprat.com\/index.php?rest_route=\/wp\/v2\/pages\/548","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.fredericprat.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fredericprat.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fredericprat.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fredericprat.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=548"}],"version-history":[{"count":5,"href":"https:\/\/www.fredericprat.com\/index.php?rest_route=\/wp\/v2\/pages\/548\/revisions"}],"predecessor-version":[{"id":594,"href":"https:\/\/www.fredericprat.com\/index.php?rest_route=\/wp\/v2\/pages\/548\/revisions\/594"}],"wp:attachment":[{"href":"https:\/\/www.fredericprat.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=548"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}