“Pierres précieuses et golden time” – april 2016 (exhibition text)
Marie Janin is a painter fascinated by her medium and its associated tools. Deconstructing the composition of the painting is her way of re-understanding its essence. One can bring the world to their canvas but she chooses to look at the world through the medium itself. Everything becomes a possible ingredient for her work, from stones to plants, flags to deck chairs, she is collecting a lexicon. Elements attract each other and create objects or temporary assemblages, forming a language of correspondence.
It lies in the floating possibles.
Attracted by the imagery and stories related to alchemy, in this installation Marie Janin is questioning the meaning of preciousness. By using this proto-science as a reference, she attempts to emphasize the original, rather than assign new value, to these so-called poor materials. The installation acts as a laboratory presenting a state of research, where objects are deconstructed and elements become associated in temporary posture. Even though not directly represented, time is an important element of this installation. Indeed if Marie’s researches can seem circular, the time, perceived as shelf space, is a necessary reminder of our history and our possible futures.
About Paint – oct 2014
Everyone paints, me too. If everything has been invented, transformed, destroyed, reinvented, it leaves me with the freedom to play, copy, rediscover and experiment in the middle of this traditional as well as fascinating medium. From the research over the material itself to the idea of a painting as a strippable object, I develop research.
The confrontations created in this dissipated experiments particularly interest me. The forced associations, the constraint of the created space, inside the canvas or because of its juxtaposition with another (canvas or object), is for me a way to explore the different subjects or images I started with (those I believed I wanted to paint). Contrast itself became one of my subject.
The image stays present, the one which with I started, the one which took shape while painting/working or the one which sneaked in. The part of loss of control is also important. And if I abandon my paintings more than I finish them, each new image or collected object is a chance to take it back.