Mademoiselle Butterfly, 2024

B.AX  

Self-taught painter, Béatrix Vincent, alias B.AX, puts women in the spotlight, with the desire to pay them homage and promote social equality. In her paintings we perceive the influence of urban art: Banksy, Miss Tic, Shepard Fairey,… in particular "stencil art" and "writing" even if she says she does not feel the legitimacy to claim to belong to the current of "street art" since it does not paint on the walls.

She is fond of mixed media: acrylic with touches of 3D paint, Posca, bombs, inclusions of newspapers from all over the world, stencils, ink projections and even sometimes nail polish. The women are attractive, expressive, strong and fragile at the same time and always bearers of emotion.

As a teenager, she attended an artist's studio (Cathy Clauzel) for several years. She was thus introduced to the technique of pastel, chalk sketches, graphite, red chalk ... sometimes from live models. His practice of painting stopped after the baccalaureate (studies, his profession then his family life taking precedence over his artistic activities).

It took a break, a strong message, in this case the disease, for her to perceive the essential character of artistic creation in her life and reconnect with this passion, this part of herself that she had muzzled. , which she had buried in spite of herself for false good reasons of person in a hurry. From this ordeal, she draws a certain urgency to live. On the one hand, she feels fully in "the here and now" when she paints and this brings her pleasure and serenity, on the other hand it is a way for her to express what had happened. perhaps imprinted in his body, for want of being exteriorized.

Her art, committed, is united as it allows her to support two associations fighting against cancer (spark-LR and the league against cancer) for which she feels immense gratitude.

In her paintings, she particularly likes to play with full and empty, light and dark, matt and gloss. Thus, it is the brain which completes what, by the deliberate confusion of shadows and background, is not offered to the eye. In this way, she also wishes to make those who meet her works a co-creator, free of their choices, of their imagination, free to project their own emotions onto the work. Romain Rolland said: “You never read a book, you read yourself through books to discover yourself. Thus, we let it be understood without saying it, we let the spectator imagine, question himself, try to provide the answer himself.

In a culture of veneration of the full, she finds it interesting to use only a reduced range of colors, to also play with the void, with what is not said, what is not shown but only suggested and from the contrast that arises from their juxtaposition. We listen to a whisper, we want to know more while the urge is to cover our ears when someone screams.