The artist, who is used to working the collage in a logic of frontality, orthogonality and stability, now overturns this principle in favor of a composition based on the diagonal and dynamism. The new set of serigraphs that she proposes, The Other Walls, asserts itself here as a political questioning of our culture where the imagination of the past collides with the hopes of the future. These sumptuous landscapes speak above all of our present and of the impossibility imposed on us to still weave deep links between our culture and nature. This new silkscreen print is printed in 14 copies, in an intense ultramarine blue, on BFK Rives 250g paper.
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.