Gisele Bonin – N Collection (belly buttons) 2
Gisèle Bonin – N Collection (belly buttons) – Graphite on paper – 7.87 x 7.87 inches
About Gisèle Bonin :
INTIMACIES – “If the notion of identity is based on the characters and data that make a citizen a unique person, it exists a priori in an earlier and external way in the course of a life, linked to the family, social or ethnic origins of each (or of his group), among others. It is cultivated or released but we do not decide on its identity even if it is now possible to modify it.
The individual understood as a being of interiority, in the complexity of his personality, develops an intimacy that makes, viscerally and psychically, his singularity: This mysterious construction unfolds over time and personal history. It is an inner background in perpetual evolution, moving and essential.
The human body constitutes the place and the act of contact, the concrete space of the coincidence between oneself and the outside. It is an in-between which envelops as much as it develops, masks as much as it tells: A strange and false frontier between inside and
outside, self and the world … point of fusion as much as division between the inside and outside, or protection from one another: first manifestation and subject of interrogation, perhaps, of identity as intimacy … Territory of memory and sensation, the envelope of the
living (corporal or symbolic: skin or “in objects”). In my drawing it can thus be presented as a vast cartographic expanse, mysterious, personality in all its forms (anatomical, psychological, cultural or historical) .
To the impossibility for my work to consider the body as a whole – to the extent that it is also to say it by the voices and lack of ways – adds the almost permanent temptation of the decadration, the rupture of scale, fragmentation and recomposition. In the large drawings in the blood in progress, the line disappears in the “matter”, in an indeterminate thickness and time and endless, indefinite and infinite, but deeply personal in what they are given to see, as in the bill: The image stretches and retracts constantly in and through the grain and the color to best express the individual in his singularity as in his universality. My work then operates (sometimes to the point of vertigo in the execution) an incessant back and forth between the reality of the model and the world and its distancing. It is a re-creation in the form of slow and meticulous extraction / implementation: it is about presenting the deficiency and the inexorable, as much as a spatial and chronological “hyper-presence”. To reverse an indefinable absence by the invisible multiplication, to infinity, of the signs of presence ….”