BIENNIAL MONTREUX - SCULPTURES
MontreuxMontreux Biennial 6th edition will take place from August 8th to October 20th, 2019. In constant development, it has been able to seduce artists from all around the world. The unique location of the Montreux Biennial allows the artists to present their artworks in an exceptional context with Geneva Lake as background. Benefiting from a huge popularity, Montreux lakeshore is a very nice walk extremely appreciates by tourists, art lovers, and art collectors during this exceptional art event.
Montreux Biennial is awarding 2 artists and a specific event is organized to revel it, during the Montreux Contemporary Art Fair – MAG – taking place from November 6th to 10th, 2019.
SOPHIE KAO ARYA
Sophie KAO ARYA, Franco-Thai artist, lives and works in France. In recent years, she has also multiplied workshops in Asia.
His first aesthetic emotions come from Asia and a deep love for nature. His studies of philosophy nourished his discoveries on fractality. In 2001 she develops a dynamic pictorial technique that explores fractal forms. Her technique imitates, not the forms of nature, but the natural process itself that automatically generates geometric shapes. Between automatism and spontaneity, she composes dreamlike paintings and gives a new reading of naturalist painting. Through this novel process, she develops a singular aesthetic and a contemporary plant reading, based on the principle of interconnection and branching specific to fractality and in relation to the environmental concerns of the time.
Artwork presented at the Montreux Biennial 2019: "Floral Girandole"
For the Biennial of Montreux Sophie Kao Arya imagined a sculptural girandole of fantasized flowers. The work is stowed on the ground on a circular base buried under the ground. It is composed of 28 stems arranged in pyramid where are fixed transparent acrylic discs painted with fractal flowers on each side. The choice of the girandole is rich in interpretations. Its structure in sheaf are attached different elements: luminous suspensions for the public celebrations, or jets of water in girandole for the fontainier, jets of fires for the artificer, flowers in bouquet in botany, and ornaments of woman, in jewellery. A festive symbol, and generous and associated with light, water, fire and earth are found there. In a game of transparency, light rays pass through moving disks in iridescent beams. They flutter easily in the air, suspended from the slender stems that oscillate slightly with the wind. The installation of its mobility, its transparency hypnotise the eye and invites us to contemplation.
At the same time as the Montreux Biennial, Sophie Kao Arya is also present in the prestigious Domaine de Chaumont sur Loire as part of the Festival des Jardins from 25 April to 3 November, 2019 with the installation "Elixir Floral".
FAZ
The new sculptures of Faz, a very soft pearly white evoke the sensual folds of a pearly fabric. Light sail pushed by the breeze, aerial curtain sheltering unknown forms, opaque screen masking reality to make it more poetic ... hide to show better ... do not reveal anything ... let guess. "There is the real and the unreal. Beyond the real and the unreal, there is the deep, "wrote Montherlant. Like a stage curtain that hides the real life and shows an artifact, unless it's the opposite!
This carved work in resin also evokes a process of sedimentation, the slow work that time does by plate tectonics, sedimentological evolutions "Depth," said Nietzsche, "sometimes hides on the surface of things. ". Accumulation of ages, stacking of eras, burial of our memory, overlays of memories and sensations, these sculptures are evocative of the cultural and natural heritage of the Earth, that of men.
The surface of these immaculate plates is moved by the breath it perceives, like water under the kiss of the wind. And matter collects in relief those murmurs that she keeps in mind as the most sensitive epidermis, as Paul Valéry reminded us. "The deepest thing in man is the skin." the whiteness of the material imprint the writings of the wind, traces, scars or marks of tenderness.
And Faz takes up the words of the American poet Walt Whitman:
"Did you seriously think for a minute that all these vertical lines, curved and angular, this sowing of small dots figured the words in question? Think again, the substantial words are at the bottom of the earth and the ocean, In the depths of the air, deep down inside you. "
Written by: Isabelle de Maison Rouge, art historian, doctor of art and art sciences, art critic (AICA), independent curator and professor at New York University Paris, member of the Art & Flux research team of the ACTE Institute (University Paris 1 Panthéon Sorbonne / CNRS). Founder of MATCHART
Artwork presented at the Montreux Biennial 2019: "Vegetal River"
8 panels carved and molded in resin, painted in pearly white.
A haiku aims to say the evanescence of things. It conveys a sensation, it is a kind of instantaneous, it contains a reference to nature, it encourages reflection. It restores the physis by touching it with a few syllables. 5, 7, 5. Three verses, all is said. At FAZ, it took several years to glean the sensory food and shape that accomplished form. As for a haiku, everything happens in weightlessness. It is a breath, a wave of ingenuity carried by a happy sensibility. If being happy is knowing how to receive the generosity of nature. And better: to transmit it.
Sophie KAO ARYA, Franco-Thai artist, lives and works in France. In recent years, she has also multiplied workshops in Asia.
His first aesthetic emotions come from Asia and a deep love for nature. His studies of philosophy nourished his discoveries on fractality. In 2001 she develops a dynamic pictorial technique that explores fractal forms. Her technique imitates, not the forms of nature, but the natural process itself that automatically generates geometric shapes. Between automatism and spontaneity, she composes dreamlike paintings and gives a new reading of naturalist painting. Through this novel process, she develops a singular aesthetic and a contemporary plant reading, based on the principle of interconnection and branching specific to fractality and in relation to the environmental concerns of the time.
Artwork presented at the Montreux Biennial 2019: "Floral Girandole"
For the Biennial of Montreux Sophie Kao Arya imagined a sculptural girandole of fantasized flowers. The work is stowed on the ground on a circular base buried under the ground. It is composed of 28 stems arranged in pyramid where are fixed transparent acrylic discs painted with fractal flowers on each side. The choice of the girandole is rich in interpretations. Its structure in sheaf are attached different elements: luminous suspensions for the public celebrations, or jets of water in girandole for the fontainier, jets of fires for the artificer, flowers in bouquet in botany, and ornaments of woman, in jewellery. A festive symbol, and generous and associated with light, water, fire and earth are found there. In a game of transparency, light rays pass through moving disks in iridescent beams. They flutter easily in the air, suspended from the slender stems that oscillate slightly with the wind. The installation of its mobility, its transparency hypnotise the eye and invites us to contemplation.
At the same time as the Montreux Biennial, Sophie Kao Arya is also present in the prestigious Domaine de Chaumont sur Loire as part of the Festival des Jardins from 25 April to 3 November, 2019 with the installation "Elixir Floral".
FAZ
The new sculptures of Faz, a very soft pearly white evoke the sensual folds of a pearly fabric. Light sail pushed by the breeze, aerial curtain sheltering unknown forms, opaque screen masking reality to make it more poetic ... hide to show better ... do not reveal anything ... let guess. "There is the real and the unreal. Beyond the real and the unreal, there is the deep, "wrote Montherlant. Like a stage curtain that hides the real life and shows an artifact, unless it's the opposite!
This carved work in resin also evokes a process of sedimentation, the slow work that time does by plate tectonics, sedimentological evolutions "Depth," said Nietzsche, "sometimes hides on the surface of things. ". Accumulation of ages, stacking of eras, burial of our memory, overlays of memories and sensations, these sculptures are evocative of the cultural and natural heritage of the Earth, that of men.
The surface of these immaculate plates is moved by the breath it perceives, like water under the kiss of the wind. And matter collects in relief those murmurs that she keeps in mind as the most sensitive epidermis, as Paul Valéry reminded us. "The deepest thing in man is the skin." the whiteness of the material imprint the writings of the wind, traces, scars or marks of tenderness.
And Faz takes up the words of the American poet Walt Whitman:
"Did you seriously think for a minute that all these vertical lines, curved and angular, this sowing of small dots figured the words in question? Think again, the substantial words are at the bottom of the earth and the ocean, In the depths of the air, deep down inside you. "
Written by: Isabelle de Maison Rouge, art historian, doctor of art and art sciences, art critic (AICA), independent curator and professor at New York University Paris, member of the Art & Flux research team of the ACTE Institute (University Paris 1 Panthéon Sorbonne / CNRS). Founder of MATCHART
Artwork presented at the Montreux Biennial 2019: "Vegetal River"
8 panels carved and molded in resin, painted in pearly white.
A haiku aims to say the evanescence of things. It conveys a sensation, it is a kind of instantaneous, it contains a reference to nature, it encourages reflection. It restores the physis by touching it with a few syllables. 5, 7, 5. Three verses, all is said. At FAZ, it took several years to glean the sensory food and shape that accomplished form. As for a haiku, everything happens in weightlessness. It is a breath, a wave of ingenuity carried by a happy sensibility. If being happy is knowing how to receive the generosity of nature. And better: to transmit it.
