Monique de Roux

Specialized in engraving, Monique de Roux really begins to paint from the end of the 1970s, representing dark visions with mannequins and unmoving people. A four-year stay in Panama and the discovery of pure colors turned her art from dusk into a symbolic language of sensation, made of experiment on colors and vibration of fragile outlines.

Monique de Roux's archetypal scenes evoke in a distant temporality, somewhere between the world of dreams and a consciousness barely recovered. In this familiar space – like the one of childhood – is concealed the material of souvenir that she transposed in ritualized movements. Emphasized by a geometrical simplification of volumes, people are fixed in an enigmatic stillness in the middle of a luxuriant paradise, symbolized by the tactile pleasure but precarious ripeness of her still lives. A troubling dissonance results from these primitive visions of a heavenly nature shrouded with a diaphanous melancholy.

Like distant echoes to Piero della Francesca and Henri Rousseau, her paintings appear like mental projections of events dreamed or lived in the past. In the search of meaning, Monique de Roux shapes an interstice in which reality and dreams touch lightly and disclose an intuition of eternity.