Elisabeth Wadecki

Born in 1963 in Zürich to a Polish father and a French mother. The artist trained at the National School of Fine Arts in Nancy. She has been living and working in the Nantes region for nearly 30 years.

Whether she chooses painting or installation, Elisabeth Wadecki focuses on the sensuality of surfaces. Her technique is based on a meticulous preparation of the surfaces: the carnal nature of the textile support shows through an extremely fluid painting, which plays with transparency and the absence of thickness. His natural or intimate landscapes, transcribed in an almost topographical way by successive layers, where erasures and withdrawals, echo trajectories and tell the story of bodies, gesture and sensuality, specific to abstraction. The gesture spreads, smoothes, takes the space. Always in connection with the rhythm of the seasons, the chromatic range of the artist joins the naturalist painting.

The pictorial texture of the canvases, made up of more or less transparent, unctuous, wet surfaces, gives us a glimpse of a somewhat levitating landscape. The composition seems to unfold like a mirror and recalls the specificity of Chinese landscapes. Elisabeth Wadecki's painting is certainly marked by Asian influence, and is an intuitive mixture of contemporary references, both pictorial and literary. We feel here in this painting, words emerge; we feel the delicate restraint and the eternal flight of the Japanese poetry. Indeed the artist, extremely sensitive to life, to its simplest and daily forms, frequents the art of haiku, which she writes freely in her small notebooks.

The artist proposes a painting which provokes an opening of perceptions and a solicitation of the senses; besides the sight, where an incorporation of the real is played, a union between the body, the subject and the world which surrounds it. The pictorial art of Elisabeth Wadecki, well beyond an abstract projection, is a restitution of a movement, a circulation between subject and world.

Everywhere, the artist's gesture seems to capture the breaths that animate the universe in its momentum, its variety. It is rounded, lightened and fragmented in dense or fluid touches, tapering to better embrace the hidden essence of things.

His painting keeps the trace of a quivering through time, as if the eye of the painter had only captured the essence of reality, like a calligrapher who, in the vitality and immediacy of his gesture, throws here and there a harvest yellow, a green water lens, a pink or a clay earthenware, and takes flight in the subtle space of a matt white.

Where it is only a question of presence in the world.