Swing inside the set of Oiron’s castle, pieces that Pascale Rémita shows have to be understood as a sensitive ballad, it proceeds to generalized change of scenery as much as possible high definitions and materiality of image. Set of paintings and animated spaces, Champs magnétiques (“magnetic field“) arrays reflects, surfaces and echoes, according to movement and set times. In the castle’s context, the exhibition hold of sequence in three rooms and focus that makes enigmatic silhouettes, desolate territories, impersonal landscapes or chromatic natures parade.
Suggesting the idea of an inside-outside play, this proposition invites in a new way at Pascale Rémita’s practice to approximations of pictural shapes with videos. For the artist, the title Champs magnétiques refers to zones of attractions or appeals exercised by her pieces in this composite handing. Depths, minerality, and transparencies combine into perspectives that appears like clues, entrance points and creep-age distances. And because painting and video develop strategies for the representation, Pascale Rémita reveals some proximities in the game of one with the other.
Drawing up a wave on the front plan of a vignette that reveals a plane’s side, gives a floating sensation and creates aerial reminiscences in the discreet brightness of the immigrates’ living room. As for the Infiniment blanc (“Infinitely white”) video and watercolours, the artist never kept developing false pretences and point of views’ reversal. Graphic and lone sketches, relay antennas refer also to fictive viewing that embodies waves, the sound or the phenomena of capture.
Avatars and metaphors of an aesthetic linked to receipt are often evoked in Pascale Rémita’s work, and as usual, allegory and iconic themes are shown at scattered places. Fleeting and masked apparitions in the weapons room, Les Observateurs (“the observers”) constitute a serie that occupies a specific position in this production.
Anonymous and ghostly witnesses, Les Observateurs tell in silence a connection linked to screen and mirror effect, to knowledge and white zone. Post modern heroes, human figures participate with a glance turned towards a world dived between reality and appearances. In this regard, Marc Augé talking about contemporary scene notices this paradox: “… landscapes in which we are living in are the same than those we see on screens and they are themselves covered of screens.” *
Pascale Rémita remains faithful to this idea of flattening world by painting. She quotes Richter to evoke images collect that she is doing on the Internet and that feeds her canvases as an improvised atlas. Showing their nomad trajectory by offering a specific care to images treatments, is a crucial element that participates to her artist process. In the attic room, barocco and strangeness go by simplified reliefs where are unveiling bucolic weft of those digital images. Murky under wood background, oscillating aquatic waves, theses scenes develop a new type of topology in the exhibition’s visit: a sensation of passing time and some atmosphere of world’s border, generate by the video triptych entitled Les horizons (“Horizons “).
Between hybrid compilations and pictures cartography, Champs magnétiques is similar to a sensitive exhibition by virtue of a montage and blurred resonances: a travel elaborated for visitor which is in the order of mental shift. A tip where eye will be a physical frame, and travel a pattern.
Frédéric Emprou, the 20th december of 2012
* L’art du décalage, in Multitudes Web, juin 2007.