Emilie Terlinden & Isabelle Bonté
Artists presented Emilie Terlinden A vision of the work presented at the exhibition Canvases painted in oil appear living and natural and narrate about individual worlds, full of symbolism and questioning. In plans with deep perspective, characters are massed with a look full of uncertainty, frozen in the fabric of time and society, in the evanescence of life; they seem to peer into the invisible. The lush trees and plants that surround them give them a deep humanity and emphasize the unique bond linking the being to nature. What is man in front of himself? What does he actually perceive from his surroundings? How do his thoughts, his memories and those of others turn into images in his mind? The artist, in her work, refers to the unconscious, to the hidden parts of a reality invisible to the eye, but tangible to mind. Timeless images. One way of thinking about human nature and its condition. Biography Belgian painter born in Brussels in 1983, Emilie Terlinden begins plastic arts studies in 1998, graduates in 2001, then resides in England and Holland. She takes night courses of painting at the Royal Academy of Fine Arts in Brussels for several years and works in parallel in her studio. She begins exhibiting her work in 2008 in Saint-Gilles, since then she participates in various group exhibitions and modern art fairs such as the Affordable Art Fair, where she exhibited for the BEGRAMOFF gallery. In 2011- 2012, she participated in Berlin in two exhibitions bringing together about twenty international artists in the former headquarters of the STASI. In October 2012 she exhibited as a young talent for the unnamed gallery with 15 other renowned artists. Isabelle Bonté A vision of the work presented at the exhibition The seizing deletion What remains to us from the past, from the people crossed? Just a gesture, a pose, a look; this is what Isabelle Bonté seems to tell us. Her paintings, whose colour palette is reduced to a strict minimum, by the use of paraffin, show us people we rather distinguish than see. Delete a face is operated by a cutting bias: the artist chooses to suggest rather than represent. As if the game here was to know which of the elusive mystery of being or of the very practical mechanisms of posture mattered most in building a personality. Indeed, how Isabelle Bonté deconstructs the portrait is not an erasure of the subject. Instead, all in the construction of these beings is striking. These paintings question us. They seem to explore the sensitive: their subject, as if lost in the limbo of memory, roams in a boundless background, between insurance, sensuality and despair. The artist plunges the viewer into reflecting on the envelope, what surrounds us, the walls of cities, the skin of things, the bark of beings. Organizing gaps, voids in the representations, she pushes the spectator to reinvent bodies of which there are only fragments, breaths, texts, postures, organic signs. Thus the encounter with her favourite material makes sense. Paraffin comes from the Latin parum affinis, "which has little affinity". These two words, -paraffin / affinity-, proceed from the same formal essence, we find in the material what marks the link, the potential combination. So working with paraffin is working on what separates and unites. Working with paraffin, is playing with the notions of frontier, veil and view. Working with paraffin is to create a second skin, tight. "The skin is the front line of the subject" (Michel Serres) Biography After studies of Mathematics (Paris VI / Jussieu - Degree) and Philosophy (Paris 1 / Sorbonne – Master from M. Revault d’Allones - 1988), Isabelle Bonté engages in Art studies at ENSBA-Paris from 1995 to 1997. As a result of these studies, her journey as a plastic artist starts. Since 2000 Isabelle Bonté presents her works at numerous exhibitions in Paris, in the provinces and abroad, both in galleries and in the context of public spaces. In Brussels she is represented by BEGRAMOFF gallery In 2005, she founds the Association Dédal(l)e, to move the place of manufacture of art in the heart of the city, in direct connection with the citizen. The encounter with the word of residents of the District of Olympiads in Paris XII makes then spring the image of her "wharf", presented as part of the "Nuit Blanche 2006" ("White Night 2006") in Paris. This work continues in the Chinese New Year, with a "Public Thought Site". For the "White Night 2007", still in Paris, Isabelle Bonté presents a multimedia work that links the question of "be together" with a particular architectural space. On order, she creates monumental sculptures for public space (Lille, Marcq en Baroeuil, Bussy St Georges, Colombes, Pantin). Isabelle Bonté practices sculpture as a process. That's why her works (rather qualified as installation) do not appear as finished, closed and definitive objects. Through her installations, she intends mainly to express a way of thinking where the work is determined by its actuation potential in space, by everything present; by visible as well as by invisible. The work is intended as an interrelation, presence at the event lived in a co-presence. The creation process is then primarily a relationship with the world around it.