Florence Marie

Out of school, out of current and without reference, the painting of Florence MARIE advances almost naked. Like a beginning, raw, but in no way naïve, insofar as it is won on the difficulty of speaking or writing, on the lie and the misfortune of words. 

To go back through words to present this painting is to take it backwards in a way, it is to turn it around on what it is turning away from, and therefore also to miss its very origin, the first gesture that gave birth to it: the search for a way of saying that escapes the traps of language (and among others of the cultivated language, with what it entails of alienating) in order to better respond to the demands of an inner necessity. 

This research has all the makings of an invention: here the painter (a term that does not yet have a feminine form) in no way marries painting in order to conform to its established laws. On the contrary, Florence MARIE risks herself in this art without shores as in a promise of her own life and more and more also public, open to the communication. 

It is first and foremost the color that provides the main medium of her dynamic exploration: this one tends to erase, in its expansion, the limits between the outside and the inside, and at the same time also favors a blancing of the work between what one could call the phantasmatic figuration and the expressive abstraction. (...)Out of school, out of current and without reference, the painting of Florence MARIE advances almost naked. Like a beginning, raw, but in no way naïve, insofar as it is won on the difficulty of speaking or writing, on the lie and the misfortune of words. To go back through words to present this painting is to take it backwards in a way, it is to turn it around on what it is turning away from, and therefore also to miss its very origin, the first gesture that gave birth to it: the search for a way of saying that escapes the traps of language (and among others of the cultivated language, with what it entails of alienating) in order to better respond to the demands of an inner necessity. This research has all the makings of an invention: here the painter (a term that does not yet have a feminine form) in no way marries painting in order to conform to its established laws. On the contrary, Florence MARIE risks herself in this art without shores as in a promise of her own life and more and more also public, open to the communication. It is first and foremost the color that provides the main medium of her dynamic exploration: this one tends to erase, in its expansion, the limits between the outside and the inside, and at the same time also favors a blancing of the work between what one could call the phantasmatic figuration and the expressive abstraction. (...)