Claire Trotignon - The Reprieve of the Pleiades

Characterized by the intensity of its Prussian blues or cyan blues, the cyanotype has provided Claire Trotignon with an ideal opportunity in which to further develop her graphic work.

 

Claire Trotignon (France, b. 1985) is proving to be one of the most talented artists of her generation. Her entire practice revolves around a questioning of the codes upon which our reality is based. Through series of drawings, collages, maquettes and installations, she continually jeopardizes the present by playing openly with the aesthetic categories of the past.

Sometimes certain old methods allow today's artists to create surprising images of modernity. This isparticularly the case with cyanotype, a photographic printing technique invented in 1842. Characterized by the intensity of its Prussian blues or cyan blues, the cyanotype has provided Claire Trotignon with an ideal opportunity in which to further develop her graphic work, in a new dimension. Made up of fragments of old prints, of architectural elements directly resulting from post-modernity, the ensemble of 5 prints creates a stunning landscape, marked by the explosions which give the composition its unique dimension. Even if these works are sold separately, they still form a coherent ensemble of an undeniable visual power.

Reference Trotignon Sursis des pléiades
Size 40 x 110 cm
Edition 8 copies
Justification Signed and numbered
Technique Ensemble of 5 panels (separate)

Trotignon (Claire)


The artist was born in 1985 in Paris, where she lives and works. She graduated with honours from the École supérieure des beaux-arts in Tours in 2008, and has become one of the most talented artists of her generation. All her work revolves around a questioning of codes that drive our reality. Through her huge installations and series of drawings, collages and photographs, she holds to this practice of shaking up the ‘here and now’. She collects fragments of antique prints and reconstructs fictional, almost heroic landscapes. Working from a hodgepodge of different scales, she introduces fragments of modernist architecture, reactivating the ambiguities unique to our culture. She offers to our view an almost idyllic landscape, floating freely in space. Modernists, in their beyond-the-human trappings, remain a destructive force, a reflection of ruin. But once the modernists are removed by the new order of hyper-capitalism, what happens then? How should we consider our part in the world when all the signs show the imminence of their replacement? It is this colossal challenge that Claire Trotignon tries to respond to. The utopian buildings she peoples with her representations teach the process of a form of idealism that modern capitalism uses to hold us to its mercantile purposes. So we have to see a kind of re-enchantment with the visible in these works. With exceptional delicacy, Claire Trotignon indicates to us that the image may still be, not the sum of its ordinary places, but the place of the ordinary.

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