First part of the editorial line that the Pijama Galerie wanted to establish: psychoanalysis and the study of interiority. And what could be more logical, when you are Pijama, to start with the founding theory of the study of dreams. “Your story must differ from an ordinary conversation in one point. While you generally seek, as you should, not to lose the thread of your story and to eliminate any thoughts, any secondary ideas that would interfere with your presentation and lead you back to the Flood, in analysis you proceed differently. You will observe that, during your narration, various ideas will arise, ideas that you would like to reject because they have been screened by your critic. You will then be tempted to say to yourself: "this or that has nothing to do here" or else: "such and such thing has no importance" or again: "it is insane and there is no need to do so. talk about ". Do not give in to this criticism and speak out anyway, even when you are reluctant to do so or precisely because of it. You will see and understand later why I am imposing this rule on you, the only one you should follow. So say whatever comes to mind. Behave like a traveler who, sitting by his compartment window, describes the landscape as it unfolds to a person behind him. Finally, never forget your promise to be completely frank, and don't leave out anything that, for whatever reason, seems unpleasant to you to say. It is on this quotation from Freud, while preserving the principle of richness and diversity of atypical and endearing artistic profiles, that the gallery proposes to Wilfried Histi and Frédéric de Petiville to open this psychoanalytic treatment. Their works respond and complement each other, illustrating the absence and the human presence. Torn, amputated bodies seeming to have been torn straight from these paintings where the perspectives and lines of flight, deliberately altered, create syntactic and rhythmic ruptures. These accidents, such as semitones, create emotion, and form a visual story, articulated around the axis of tension between painting and sculpture. Likewise, the two artists seem to play with proportions ranging from the infinitely small to the infinitely large in order to generate a feeling of discomfort or dizziness. Oscillating between the resolved chord or, on the contrary, the devil's chord (that of the blues), the exhibition offers a score that soothes or disturbs, leaving one part indifferent, but captivating the other. In fact, the gallery proposes to take the time for an immersive experience, so that, put in resonance, the two works allow the progressive taking into account of the contradictory and conflicting elements which form the psychic totality, conscious and unconscious, of the subject.
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