oct / nov 2020

Gasediel proposes an inventory on SEEING and BEING SEEN through portraits with perfectly drawn lines, which are not without recalling the famous maxim of Jean-Auguste Dominique Ingres “Drawing is the probity of art. » This plastic realism is juxtaposed with a whole graphic poetry and urban typographic games: stencil, tags, collage effects, spray cans, stickers,… Gasediel integrates this poetry (poetry being the eye of the mind!), and probes you. Do you still take the time to see and perceive the eyes of others? Milan Kundera points out that “solitude is a sweet absence of gaze”. For some, this solitude would not have a bitter taste? Especially at a time of social networks, selfies, and ego portraits.

Finally, with the interference of urban expression in each work, Gasediel raises how much this art also embodies an urban “FACES”, art of the very personification of the soul of a city that the “New Realists” movement defined as a “new perceptive approach to reality”. Learning how to look at the face of urban art, and not just see it (or have it), completes the point of view of Volte-face.

This exhibition prioritizes being over having through a luminous plastic reflection on the genre of the individual and urban portrait. Don’t walk around blindfolded (and minded) anymore!

From the spontaneous and ephemeral dialogue that takes place on the forgotten walls where faded posters, faded graffiti, layers of paint, all traces of the message left behind, pile up … springs a raw and wild writing that is a source of inspiration for Gasediel’s work.

This romantic attention to the “language of walls” gives birth to a very personal homage halfway between imagination and reality where each painting would constitute a page of this urban poetic collection.

Through the simple gesture of frontal framing deprived of perspective, Gasediel proposes an immediate and direct reading of the wall fragment taken out of context. She allows herself a freedom of composition while imposing a single technique. No collage or elements stolen from the street, it is by painting on a layer of concrete or cement that she aims to render the essence of this urban material eroded by time.

This art of infamous streets assumes colorful and provocative exuberance far from any naivety.