Philippe Ramette (1961) (Miroir déformé, 2002, Metal and wood, unique deformation #1, 104 x 104 cm (total size))
„The mirror objects of Philippe Ramette explore the unusual, the ironical
and, sometimes, the aberrant. These ostensible reflections elude all attempts to objectively grasp them. His Miroir déformé (2002) is an invitation to witness the distortion of one's own image, as it is reduced and reabsorbed in the folds of a deforming mirror which offers no stable vanishing point. Notions of center, symmetry, or points of view disappear. This invitation to doubt the perceived reminds us that the distance between image and reality is infra-slim (5) and that these worlds can fall in to each other, merging in the folds and deformations of his Cerveau réfléchissant (2002).”
Philippe Segond (1961) Détail 29, « Miroir », 2001, Lacquer on wood, 37 x 80 cm
„The works of Philippe Segond and Pascal Pinaud, eschew visibility; they choose instead to explore the liminal, the immaterial, uncertainty, and disappearance. By not using the properties (division, fragmentation and multiplication) of the flat mirror in the manner in which artists from Michelangelo Pistoletto to those of a more recent generation such as Robert Smithson have, they work on shadow reflections, metaphors of a ghostly world. Since 1995, Philippe Segond has been working with moiré colors, silver and gilt, using industrial paints intended for painting vehicles. Unlike the ink-based colors of silk-screening, which can be mixed, this dazzling color is a varnish that does not blend into the surface, thus forming a film. In Détail 29, Miroir (2001)and Mémoire 2 (2005), the silver paint looks quite like the texture of a mirror, or more accurately, like an opaque mirror slightly vibrating with the incidence of the light. The silvery surface is troubled, lending an opaque quality to the mirror. It is no longer a perfectly symmetrical reflection projected by the mirror-object, or merely a “troubled water” effect. Painting the brilliance becomes a way to dissolve the visible.”
Pascal Pinaud (1964) Blanc perle Chrysler, 01A14, Juillet-Octobre, 2001
Mixed media, 175 x 110 x 8 cm
Courtesy of Nathalie Obadia Gallery, Paris
"Pascal Pinaud uses automobile paints on sheet metal for his pictures, which, with their brilliance, deconstruct and deform the environment. The magic of the reflective surfaces reduces the density and weight of the real to a skin floating on the surface of the steel. In front of these works, the viewer finds it hard to clearly distinguish his features and merely captures a silhouette, a shadowy profile. Here, the artist creates images, between light and shadow that are reminiscent of simulacra. The true appearance of things is inaccessible in his mirror paintings. The disappearance of the world's clarity goes hand in hand with the loss of the subject. The spectral dimension of non-narcissistic and non-imitative, hyper-realistic mirrors may best reflect our world, which, in spite of everything, is still inhabited by the disappeared, the forgotten and the dead."
és Patrick Tosani (1954) Géographie I, 1988
Cibachrome photograph, 160 x 160 cm
„Using tight framing and enlargement, Patrick Tosani transforms everyday and familiar objects, such as a drum (Géographie I, 1988) into old, worn mirrors. The film covering the skin of the instrument has partially disappeared, leaving a shiny, distressed and concave surface. The silent sound of the drum is felt through the haptic desire suggested by the materiality of the surface of the image. In the enlargement, the skin of the drum reveal s an undulating space reminiscent of geographical surface maps, or satellite photos. The title is part of the distance that allows him to avoid mimetic analogies, opening the work to several levels of readings and interpretations.
Fetish of our western society, the mirror is thus deformed and transformed by contemporary artists to better define the limits of the narcissistic and to open up new perspectives and questions, notably about the space accorded the Other.”
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