The unspeakable erected in the shape of a joyful or serious palimpsest, Corine Pagny traces in the plane and space of shapes and faces. Disputed graphics, punctuated by bright colors. Minimalist scenes taken from the subject. Expressionist atmosphere where the curvilinear trajectory of the dark line evokes the last works of the great Antoni Clavé or the cyclo-aesthetic reminiscences of Paul Smith working for Rapha. What strikes at first glance is the lucid and luminous speed that brings the line to the essentials of the signified. As in a text by Robert Zimmerman or a lithography of Bob Rauschenberg. Everything is said immediately. Without remorse, without recourse, without artifice. The artist's movement joins his poetic will of expression. As in an obviousness in black on white. Without other limits than emotion born from the imagination. Ink then, but also watercolor, acrylic or chalk, as many techniques at the service of gesture. Joining the aesthetic dramaturgy of a Frana or an Ali-Khodja, the work arises and asserts itself while the line takes consistency with flat and flows. The subject is exposed and explodes. All beauty, suffering, presence and absence. There is vertigo in suspense. Of love. Hatred. Life despite everything. I really only know Corine Pagny recently. But I have the revelation of an endearing and impressive work which restores me drastically the whole of a contemporary artistic vision. Without a mercantile strategy, without a priori media or critical, the long -term work of Corine Pagny is an invitation to melancholic introspection. Better than a trip, an idea of all these other ourselves that we hoped to meet. From one shore to the other in an art history that merges with the history of peoples, there is a matter to restore aesthetic consistency to the wildest dreams.
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