PB Project. Marguerite Piard: Sang-Froid
Marguerite Piard鈥檚 painting is a matter of temperatures. Her palette stretches at both ends towards deep reds and midnight blues, summoning, beyond a certain symbolism (fire/water; blood/night), the thermodynamic sensations produced by particular phenomena. One feels torsos creased by naps and fingers wrinkling at the touch of water. So, one must seek coolness, wrap oneself in her body like a towel after a bath; or melt like sugar, the skin syrupy with sunlight.
In the Encyclopedia, Diderot establishes a distinction between 芦 to absorb 禄 and 芦 to engulf 禄: absorption begins on one part, extends and quickly destroys; engulfment envelops and carries away. Thus, one would say that fire absorbs but water engulfs. Marguerite Piard鈥檚 pictorial motifs fully participate in this emotion drawn inward, which consumes or holds back, like tears stopped by lashes.
The body is swallowed in the moment, and the suspended emotions take the form of a silent and trembling intoxication. Each moment flows without a jolt, without a sound, in a calm and assured rhythm. The hypnagogic state close to lethargy that covers each scene gives certain figures a character of recumbence, as if changed by ecstasy into salt statues. This inaction renders the paintings ambiguous: a caress can be both a burn and an ointment.
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Marguerite Piard鈥檚 painting is a matter of temperatures. Her palette stretches at both ends towards deep reds and midnight blues, summoning, beyond a certain symbolism (fire/water; blood/night), the thermodynamic sensations produced by particular phenomena. One feels torsos creased by naps and fingers wrinkling at the touch of water. So, one must seek coolness, wrap oneself in her body like a towel after a bath; or melt like sugar, the skin syrupy with sunlight.
In the Encyclopedia, Diderot establishes a distinction between 芦 to absorb 禄 and 芦 to engulf 禄: absorption begins on one part, extends and quickly destroys; engulfment envelops and carries away. Thus, one would say that fire absorbs but water engulfs. Marguerite Piard鈥檚 pictorial motifs fully participate in this emotion drawn inward, which consumes or holds back, like tears stopped by lashes.
The body is swallowed in the moment, and the suspended emotions take the form of a silent and trembling intoxication. Each moment flows without a jolt, without a sound, in a calm and assured rhythm. The hypnagogic state close to lethargy that covers each scene gives certain figures a character of recumbence, as if changed by ecstasy into salt statues. This inaction renders the paintings ambiguous: a caress can be both a burn and an ointment.
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