Kardesch is a visual artist, originally from Biarritz where she lives and works. A former student at the Ecole du Louvre and the Ecole des Beaux-Arts, she immersed herself very early in abstract art, drawing from it a mode of personal expression to interpret the world around her, and to translate its tensions. intimate and his artistic sensibility. Alternately using oil paint, charcoal, gold dust, calligraphy and more recently chrome, she never ceases to seek an autonomous visual vocabulary that pushes back the constraints of the imagination and gradually frees the confinement of the gesture Kardesch experiments with formats, supports, to deepen his research. She likes to get out of her comfort zones and free herself from the frame. She diversifies her techniques, from drawing to collage, to return to oil painting. She works the traces, scrapings, scratches on the fresh material. The brush gives way to the roller, the spatula, the brushes of house painters, raw instruments that serve his gesture, the upstrokes and downstrokes of his intuitions. She punctuates her research with numbered series, increasingly refusing to affix titles to instantaneous paintings that may resonate with each other a few years later. She prefers the coherence of cycles, the very ones that punctuate life, intertwined, woven logics. She stubbornly resists critical interpretation that could constrain the vital energy that characterizes her and would like to define what continues to be written. Always attentive to the interactions that can arise from her painting towards other disciplines such as haute couture, photography or architecture, she provokes encounters with artists and places that echo her.
The exhibition ; KARDESCH 30 years of abstraction
This retrospective, without giving in to a chronological presentation, invites the public to discover the highlights of his approach through a sensitive, deliberately non-linear hanging, favoring resonances and correspondences between the works. Since life is not linear, even less so when one is a woman and one has chosen to be an artist, the itinerary of the exhibition strives to respect these correspondences of forms or tone, these resiliences that echo each other, to bear witness to thirty years of uncertain quests, useful repetitions and happy affirmation. His first paths of life which irrigate his work, threads of gold and light, swollen, simplified, which stretch, fade or break brutally on dark flat areas, tortured or bleached, often cracked, open the exhibition. to set the tone for the expression of time and testify to this life journey crossed by emotion and abstraction. Will follow in a staging that provokes dialogue with other more distant works, some twenty recent large-format works that question the reversibility of black, gray and their transparency. . These latest works – Noirsmirrors – which continue his incessant questioning of color and material and which today lead him to the requirement of black, are presented for the first time in Biarritz. Always present in his canvases, the black becomes deeper and deeper, a rapid, torn and violent line, the emptiness widens, lets the absence, doubts and repentances surface. Then more instantaneous and freed, black asserts itself in thickness and shine, like a luminous black that helps to live These last works impose the black-mirror effect without any other gravity than that of being reflected in it, more cheerful and light than previously “Black is my Happy Color” she says. Sometimes the gray chrome or white-mirror effect also appears, a daring reflection that rejuvenates the pain. Painting opens up the plasticity of these mirrors to the gaze of the other and to their indulgence. And because the circle comes back tirelessly to the heart of his work, the resonance of the circles - brown and streaked earth, silver mirrors, multiplied puzzles, - will punctuate the roaming like an intimate breath, to bring together what seems to be fading, as if to attenuate the caesura of time and contradict its fragility. Because Kardesch returns repeatedly to this round matrix, this feminine of childhood and childbirth, which protects and soothes. She curls up there for a moment and draws from this silent pause the strength to continue. She catches her breath there and relieves herself for a moment of her strength and her energy. The last room, introduced by the series of "doors", like so many witnesses to a more intimate and spiritual passage, is structured around its last triptych - created especially for the exhibition at Bellevue - Here she dares powder again d'or, the one that had inspired - thirty years ago - his very first paintings, his first paths of life. It confronts itself again with matter, with the telluric of bodies in balance, particles in movement, heavy, in gravity. A dialogue takes place with these “balanced” works, these dark or colorful, rigorous or playful imbalances, which leave it up to everyone to organize the disorder of opposites. The species of spaces regain their rights, defying the superposition of time, cracked, fissured or attenuated surfaces, which close opaque imaginaries, with monolithic forms which lean against each other fragile and primitive, ready to sink, to be crushed. each other. The traces of the paths of life are still perceptible there, impassive wrinkles of a more peaceful time. The touring of the exhibition can then close temporarily. __________________________________________________________________________
A dedicated space, more designed as a “room of one's own”, invites you to explore the side roads that also interest Kardesch. Because if her artist's studio - of which Zigor gives us a moving snapshot - composes her daily and almost exclusive working environment and her landmark(s) of history, she is also passionate about architecture, fashion, design, photography, literature and remains attentive to the artistic encounters it provokes. Projects were born or are in progress, which deserved to be highlighted.
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