Infinity / Mehdi Chourou

"There is an essential difference between the symbolic forms of art and those of science. The symbols of art are unique, specific, and irreducible, while the symbols of science are global, reproducible, and subject to generalization." Kachalsky

Alchemies... Pictorial stories... Abstract forms, Mathematical rules, Luminous variables... The bridges between Art and Mathematics allow for an objective vision to be associated with a subjective mode of expression. This also allows for reproducible symbols to be used for unique forms.

Our reflection is based on knowledge transmission with a semiotic approach to the evolutionary reconstruction of meaning.

The Solo Exhibition "Infinity" evolves in two acts.

Act I:

Spontaneous Abstractions or Surrendering to the Unpredictable Virtues of Gesture...

Open works, Different perspectives

Spontaneous Abstractions (acrylic/ink on black A4 paper) embody non-reproducible imprints, intuitive fleeting gestures, developing multiple perceptions of the same object. The absence of a signature leaves visitors free to choose and modify the positioning of the paintings, thus avoiding a fixation of meaning. Without frames, the Spontaneous Abstractions are presented without structures or corsets. Raw, neutral, devoid of all constraints.

The only leitmotif that rhythmizes Spontaneous Abstractions: Freedom!

Contact Gaze

The imprint imposes "a gaze of contact": a paradoxical gaze that questions the tactility of materials. Phenomenology of the "exchanged gaze": the experience of the gaze directed at an object is returned to the observer, lending to the inanimate object of the Spontaneous Abstraction the power of animation with which it was momentarily in contact.

Contact vs. Distance

Spontaneous Abstraction offers us a dichotomy: "Contact/Distant" where the plastic imprint is formed and "Distance/Near" where the imprint presents itself to us.

Act II:

Abstract Calligraphies where Flying syllables now form fusional words...

Awakening of Matter

Act II of Spontaneous Abstractions (acrylic/ink on white A2 paper) continues the search for the multiplicity of meanings through transparency. "Stains" evolve recto/verso to form ephemeral, uncalculated movements. Each painting is produced at a different moment. Their fusion is fortuitous.

The treatment of light (intensity, direction, extent, diffuse sunlight, focused artificial lighting...) is considered as an element of expression, an agent of visual ergonomics.

Impressionist Landscapes

The pictorial material rebels... Readable in several senses, it changes with the hours and atmospheres...

Multiplicity of Perceptions

The rotation and position of the observer establish a series of fixed visions of the same object.

The fusion between the two faces A (front) and B (back) gives birth to two asymptotic objects:

Object "C" with painting A in the foreground and painting B in the background.

Object "D" with face B in the foreground and face A in the background.

The superimposition of the two faces is accidental.

This redefinition of perspectives also allows for a variation in the plastic modalities of blur and sharpness. Blur becomes sharp and sharpness is blurred.

(A + B = C + D)

Transmission of Forms through the Imprint

Each face leaves a chromatic, plastic, temporal imprint on the other side of the fusion object... Transmission by contact.

A sort of anachronistic imprint disorienting the story...