« I paint on canvas because case surface is becoming scarce.
I strive on the verge of the void. I paint in total imbecility, in a non-knowledge. I have to keep losing, skinning, alarming, waking. Constructing and deconstructing.
There is that urge, that much sought after feeling of the link with the Universe, the materialisation of otherness, expolation, and vertigo.
It seems to me that painting must take off several skins and irresistibly lead to the origin of creation itself.
A scene of deliberate loss, in the precipitate of the random space from which the in-between space will sometimes spring, the bridge, the inhabited and uninhabited place which links man to the Universe.
Painting, the threshold between solitude and encounter, is more than ever an act of love and of resistance.
Painting has bound me.
It’s in my skin, and that is where I’m now looking for the body of painting. »
This text, which was written for the edition of my first catalogue, was ending with that question about the body of painting. At the time I was producing what could be qualified as Abstract Art, on the verge of sign, in its most discrete suggestion.
In 2010, I completed my last abstract work, and this for different reasons : painting was showing me the way, pushing me into the void, and questioning me through my action, it was showing me its deadlocks, including its own disappearing, its pointlessness, or its absence. Or worse, its decorative potential, an aesthetic comfort, which is against my most profound conviction : that of unbalance from which one never recovers.
I don’t feel like recovering from painting. It goes without saying that I’m looking for danger.
I feared, and I still do, I would repeat myself. I want to go on wondering and doubting.
Painting brings me, through metaphores, the invisible, insurmontable to langage. Therefore it’s all about visions to which I give shape.
My inspiration is the product of a journey indissociable from the practice back and forth between sense and non-sense (I distrust what I think I can understand), between inside and outside. So, I don’t have any favourite themes, but compel myself to go into what comes up.
I have a feeling painting must remove skins. That is how, without realising it, while searching, I started painting what’s under the skin : flesh, in its universal characteristic of the living to the world.
For me, painting is the other. By looking for the flesh of painting springing from the animal, in its anonymous flesh, a metaphore of the inside of the painter, interiority, the encounter with finiteness, meat in the « deleuzian » sense (cf. his text about Francis Bacon’s painting) as the condition of any human being.
Pascale Morel. Traduction : Christine Beureux
Pascale Morel was born in Paris but has spent nearly all her life in the provinces and has now lived in the countryside for the last 15 years, with her animals , and in her studio.
She studied a preliminar year in the School of the Beaux-Arts in Troyes before joining the Studio Met de Penninghen in Paris where she learnt everything, or nearly everything, which means that she had an ineradicable will and survived the courses of that School without any noticable damages.
Since then, she has set sail and launched herself alone into adventure.
She has been teaching for 7 years in the School of the Beaux-Arts in Troyes and spending the rest of her time working, painting, drawing, and other delicious tortures.
2016 Service des soins palliatifs Hôpital de Troyes.
2015 « Anima » Galerie Chantal Bamberger Strasbourg.
2012 Peintures sculptures et dessins Galerie Eric Dumont Troyes.
2010 Peintures Galerie Alain Rouzé Nantes.
2009 Peintures-paysages Maison Pour Tous Sainte-Savine.
Sélection Rencontres des toiles Ménerbes.
2007 Peintures Galerie Eric Dumont.
2016 Musée de la faïencerie Ancy-le-Franc Petits formats.
Petits formats Galerie Artelivorno Livourne Italie.
2015 Artistes français en Italie Galerie Artelivorno Livourne Italie.
Musée de la faïencerie avec I .Richard et B. Witdouck.
Trois artistes Galerie Eric Dumont Troyes.
2014 Artcité manifestation d’art contemporain Fontenay-sous-Bois, Paris.
2013 Carte blanche du critique d’art C. Noorbergen Les Hivernales Montreuil.
Biennale des artistes Espace Argence Troyes.
2012 Biennale d’art abstrait Normandie.
2011 Les ateliers d’artistes de Ginkgo Maison du Boulanger Centre culturel Troyes.
2010 Pulsart Manifestation internationale d’art contemporain Musée de Tessé Le Mans.
2009 Peintures Galerie Daniel Amourette Rouen.
2008 Untitled Pavillon Henri IV Nogent-sur-Seine.
Acrylic on canvas, 23.6"x28.7" (Inch)
Mixed media on canvas, 18.1"x15" (Inch)
Oil on canvas, 21.7"x18.1" (Inch)
Acrylic on canvas, 18.1"x14.6" (Inch)
Mixed media on canvas, 15.7"x12.6" (Inch)
Mixed media on canvas, 15.7"x12.6" (Inch)
Bleach on black Canson paper, 27.6"x19.7" (Inch)
Bleach on black Canson paper, 19.7"x27.6" (Inch)