frederique Krzis-lorent
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Biography
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THE WAY IN WHICH I WORK
I work with oil-base paint according to the old technique i.e.
I use his possibilities: glacis, smear, scraping to the tack coat,
full paste, brightness, matity, ect...
INFLUENCES
I affectionne particularly:
- Greek art and its way of looking at the human body through its
sculptures (school of Praxit?e). "When one has little thing to say,
one speaks without stop. Silence weighs only with those which do not
think ".
- Italian rebirth for construction, the glances, draped, the
frank colors, the thinness of the paste, the matity, the
brightness, the woman, etc... Angelico, Filippo Lippi. - Vermeer for
the light
- post-impressionists to touch it fabric. Vuillard and Bonnard.
Bonnard: "alive, spouting out and symbolic system with force of
innocence"
- Russian constructivists of the Twenties because the color has
a dominating place in the reflexion of the latter and also because I
am an architect.
- abstracted expressionnism, in particular Rothko: "of the tables like
dramas".
_ the abstract one for its function liberator in particular Hartung
and Fautrier.
MY CREATIVE PROCESS
With regard to the tables of women, I seek "the gasoline" of
the woman to the philosophical direction; what induces the colors, the
expression of the face, the composition, etc... There must be a
perfect adequacy of my thought and technique.
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Statement
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Could you
deliver your opinion to me, thank you herewith a paper of environment
made by a critic of art.
Paint to search oneself and to find the other.
From the colour to the ligne of the paint brush, passing by the cutting, in the painting of Frederique Krzis-Lorent to be known as FrederiqueK, all is cry, all is writing, all is language, all is signifiant. In another life the one that dedicate herself today entirely to her Art was an architecte. Her training and her years on the site, have set down on her canvas traces of the ? structure exigente ? demanding exigence-impeccable even- of the Art of just trait dear to Vitruve. Faithfull to the straight ligne FrederiqueK often construct her canvas starting from squares, a figure of a rich symbolic that particularly suits her.
To be rigorous is not to be rigid. The free flow of her work is put forward by her well kept subject to under line the effects she does `nt hesitate to work on canvas not prepared. This work flow is the extension of her photographic gesture, very fine and even in the subjects that she likes : the woman, the fashion or the ? agaves ?.
Strong of the technic and of the mouvement, the painting would be just an empty shell if is was not animated by the thought which give it it's breath. FrederiqueK paints to prove that she exist. ?I am obcessed by the mental she confesses. To paint it's to go in search of oneself, to say something to some one. For the paintin
g is never free if not it's got no sense. The world_vaste territory of non-sensical_ has become a world to confrontation and of exclusion. It's makes simultanously it's death destiny it's own ? finitude ? duplicating ours and a sense of helplessness of all it's hindrance. While painting despite all FrederiqueK invites us to escape from this impotence, to react differently accross our anguish. She is faschinated by fashion and it's refinement, it's fabrics, her ideal of thinness, it's light, it's brillance and it's elegant women, it's evanecent and it's mystery. Behind the appearance, FrederiqueK paints the woman in her modernity. ? I am says FrederiqueK, always torn apart between the simple, the masculanity and the show of the feminality. I love to tear apart ?.Her precise eye of the architecte, looks analyses, find the fragment. FrederiqueK is the painter of the ? synecdoque ? of the details who suggest all. In the same time her sketchy scene suggest the magnitude of her work. We are in the baroque painting where the extrovert testifies or real suffering, it permits contact with the others. So the ? agaves ? of FrederiqueK are not dead nature but ? anthropomorphes ?. The synthesize of a gesture humanitarian the arm in the wind. They are the superb exercise of colours. ? the colour for me is like the light, a way to explain myself, a word. This is my life, without colours I to expire ?.
She tells us that the word does'nt go from a fraction of the relationship between people. The ones that does'nt know how to make us listen, wil invent other arguments to make us anderstand. ? I have difficulties, she tells us, to move into space. I often have the sentiment that the more I speak, the more I explain, the more I analyse my thoughts, the less the people anderstand me. Painting permets me to communicate an other way ?. The ligne and the colour sets up a bond which the spectator will permits the artist to run away from her shut away .and takes the spectator in her world. FrederiqueK who has retained decades with her canvas in her work-shop, destroy them if the necessary arises to make room, shows silently that painting is to go in search of oneself to find the other.
Alain Coudert
Critic of art
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Exhibitions
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Only on the Web
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