Oscillography 2014-2016
13
Marc Bretler, janvier 2017
The latest work of Anne Pantillon presented here, is the natural continuation of her uninterrupted interest for movement.
After exploring the movement of light in the bottom of riverbeds, the slow flow of matter in motion, from sand, basaltic lava, the waves of movement constitute the subject of her unrelenting examination presented here.
In her series Basaltes[1] (2000-2004), stone and earth are used to represent minerality through collages. In her series Pluies et ruissellements[2] (2003-2007), the slow flow of rivers is represented as a metonymy trough dripping and splattered ink.
For the last 25 years, Anne Pantillon has explored not only the effects and presence of natural elements leaving physical traces, but also social and political events (Identités (1993-95), Srebrenica (1995), Processions (1996-98)) and their repercussions on her work.
It is with no surprise that sound, the center of her current study, comes at this stage. The exploration of the effect that music or noise has on painting and graphic expression, is the latest step in her “recherche patiente”.
Sound is approached here in a complex way. Her body moves like an oscillograph, it transmits the multifaceted sounds going through her drawing and pressing. Being a painter, a musician, and a dancer, Anne uses her body for her exploration. Soon, tools became obstacles to direct contact with sound. The hand, the arm, the foot take over. This technique allows her to bring together the elements that shaped her from her childhood: music, dance and painting.
Vibrant figures and enigmatic forms, all transcending the vibration of matter in movement, slowly deciphering the hidden rhythmical and harmonious structures of music, or sometimes, expressing the intense shuddering of noise.
The results are always unexpected and unforeseen; multi-dimensional, and with a total absence of scale, Anne Pantillon’s work is open to all forms of interpretation.