December 12, 2009 19:00 PM
LED @ Via F. Del Giudice, 8 - 80138 Naples
T: 081 45 85 32
www.ledspace.org
"... There are what we call" idols. " They like films pull away from the surface of bodies flying around, back and forth to the breezes ... "(De rerum natura , IV, 34-36). E 'in this way that twenty centuries ago, Lucretius explained the "simulacra" form without substance, emitted continuously by the inconsistent images and objects picked up from the eyes by reflecting bodies. Of course, the theory of vision forms part of the genius of Lucretius transposition from the greek to the Latin theory of the atom of Epicurus, contempt of the Roman myths and founder of a revolutionary scientific method. The physics of Lucretius may seem fanciful, but has retained its poetic force, revisited by Caroline Peyron.
mirror art
The first series of works presented plays on two simple techniques: India ink and photography engraved. In a harmony of grays, Caroline Peyron introduces color in light touches the surface of the recording photographers colored elements such as dried flowers or brown wicker basket. The disappearance of the silver-hour photo, Caroline Peyron goes through a rewriting of the medium and the technique of in this way it subverts its function as a recording of reality. Ask strongly mimetic nature of the photograph alongside an original in black ink with its double photographed. This is also a series evokes the "simulacra" of Lucretius, escaped from the infinite objects. The object-models are then revived by fitting in the photo (and inside) the drawings in ink.
The artist's hand, self astray, reiterates this mise en abyme. The reason for the hand holding the pen points out the source of the blurry pictures and words, words that become images when they are transposed in photography, to record on the ubiquitous onion, words whose origin is emphasized by the cuneiform tablet graphics. Next to the hand, his glasses resting on a notebook of drawings materialize ironically the eyes of the artist, the reader and the viewer. In this series, the theme of death is discreetly present. The autopsy of a skeleton, in many corners evokes a ghostly face and the roses wither. "The ring on her finger wears away "(I, 312), discrete track of time which destroys everything, keeping the atoms because" something it resists without change itself must be, because things are not reduced, to the end, in nothing "(I, 790 - 791). The progressive germination of garlic and onion may be a reflection of the process that the atoms separated by a body to join another in an eternal renewal. Another response is this nude female repeated on three compositions. Her sensuality slowly comes alive with the introduction of color and especially with the gradual approximation of the look on the body stripped and subtly provocative.
mirror of the world
denying the presence of the gods in the world, Lucretius reveals the nature and operation material. Stoicism offers a happiness that is defined by the absence of disturbance and encourages the rest being by controlling his mind with the creation of a "loecus amoenus (pleasant), a protective fence where the essays are extracted from world and its violence. This re-explain to oneself, this poetics of daily life can be found here in the tools to cook and draw. But the close-ups and tight shots are losing a sense of proportion: the detail is the world, the microcosm reflects the macrocosm. If the polished marble reflects the Italian coffee machine, introduced in the second series of the mirror multiplies the effects of art. According to Lucrecia, the speed of the flow of "simulacra" is such that only the smooth plane of the mirror "there" refers to the vision "(IV, 108) picking up the effigy that roam around us, making ribalzare on the surface. But here it refers not mirror a true reflection. The fiery nature of the incision and the pastel sticks Caroline Peyron the mirror that shows us what we do not understand. The loss of connection becomes a simple bush in a majestic tree that branches off to the sky. Elsewhere, soil photograph shows a mirror that cuts a piece of heaven, thus linking the two worlds. But the reflection is fragmented, cut out pieces of real forgiveness and consistency are integrated into the final composition. The paradox reaches its highest point since then, carved in the pictures, the mirrors can be seen as photographs from which exudes a rough vision of "reality." Art as imitation, mimesis as the ancients would have said, he came here on his limit. To push the beyond our visual habits, Caroline Peyron strives to capture the reflections, set the time, transforming the appearances, and turns an ordinary day in a poetic world.
Mirror intimate
The mirror draws portraits of fragmented sites (Paris, Naples). Here is yet to pieces that prove Jesus or square Place de la Bastille. The volcanic sand beaches come alive with the engraving scratches and burns the surface of the photograph, to give life to the extinct volcano. Here, the blue sea, but does not come from the reverberation of the air and bathing facilities. Far from the gender codes of the landscape, the structure reflected strong lines in the compositions, to deny the depth and evoke a flatness in the superposition of the total horizontal wave and those of the establishment of blue reflected in the sand. The mirror is powerless to grasp the world in its entirety. Sentenced to split, becomes opaque to the end and destroys its function. E 'then transpires that the artist's face, uncertain and troubled echo of our space.
Through an unprecedented renewal of artistic technique and a question about the ability of art that finds its purpose in reproducibility, Caroline Peyron offers us the dream image of a fragmented world. The inconsistency of the material world is not as confusing as Caroline Peyron invites us to savor the details and to tame time with the contemplation of our repeated references to newspapers, call in addition to re-flex the world. Joana Barreto Historian
Caroline Peyron lived and worked for 26 years in Italy
2009 May 16 passedartista
under the National Conference of SLP (Lacanian School of Psychoanalysis in the Freudian Field) Stazione Marittima Congress Centre. Naples then a month Evaluna
2008 September 25-October 25 de rerum natura
Le Jeune Théâtre National. Paris
6 to 26 June 2008 drawings
Group show by Simona Perchiazzi tunnel MANIDISEGN sgm pignatelli Naples
2008 May 22 inks
Performance: ink drawings made public along with the reading of poems by Mark de gemmis and Enza Silvestrini. Church of the souls in purgatory Naples. Curated by Lorella Removed. To be published
2008 March 19 inks
Performance: ink drawings made public along with the reading of poems by Enza Silvestrini and Marco de gemmis. Library Mondatori.Napoli
2008 March 19 May 19 square writing
The library Mondadori ink drawings and etchings
2007 March rolls writing
Library Treves Plebiscite Square Naples
2006 September 28-October 28 burn the Aeneid?
Tomb of Virgil and the French Cultural Center "The Grenoble" Naples
2006 -2007-2008 travel moleskine notebooks
Group show. Carnet Mediterranean Gutenberg Galaxy.
Publication a notebook Acting in 2009. Napul'è . Gesco editions and
Glimpses of Naples. City tour in 30 notebooks travel . Liguori Editori 2008
May 2006 April rolls writing
Library Dante & Descartes Naples
2005 February 19-March 21 une saison
Museum Naples Archaeological
2004 27-31st May the sheets immigration
Conservatory of Music in San Pietro a Maiella. Naples
March 2003 génération
eight pictures. Women's Collective Show in March 2003 Castel Nuovo Naples 2002 December-January laps
Library Brancaccio. National Library of Naples
1998-November 11 11dicembre VWA
Gallery of Contemporary Art Del Monte. Forio Ischia
1997 3 December to January the projection pour l'ombre
French Cultural Center "The Grenoble" in Naples
March 1996 les frais de la conversation
Our Home to Italy Church of San Francesco delle Monache Naples
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