Isabelle Bonté-Hessed2 "Que devient la blancheur quand la neige a fondu?"
Solo exhibition of Isabelle Bonté-Hessed2 QUE DEVIENT LA BLANCHEUR QUAND LA NEIGE A FONDU ? (WHAT HAPPENS TO THE WHITENESS WHEN THE SNOW HAS MELTED?) (*) (*)William Shakespeare Continuing her work about disappearance, deletion, memory, she weaves an entire exhibition around a personal story, that of her great-grandmother. Here's what she says: "With a non-scholarly alternation of paraffin and black ink, I have embroidered my story. Point by point, the omissions it contains, the unfeigned surprise of its absences, the light which is born and dies instantly, according to the disappearances in which it advances. With a non-scholarly application, I have all the same embroidered the web of life. With a non-scholarly application, I have all the same embroidered the web of life. With a non-scholarly application, I have embroidered myself to the sentences of this story, renascent foliage which was mine. Because here, the burning places where life is played at all costs, dramatically, to the second, vital and violent imperative, meet. She, -my great-grandmother- one day on holiday in Blonville, with her husband and these 2 young children. Nothing announces the coming day ... the flames made first the ground black; then, they made a glowing sky reign in the house, with a greedy laughing of endless darkness, destroying, ravaging and taking the 2 young children, like a riverbed deepening with the speed of the gods. The children lost, -she-, had the cold winter on a banner of memories, chilling her soul, taking her hair to the white, a scar of stopped time. -She-, She had again, 2 children, whom she named, in an attempt to resurrection, with the same names of the lost in the fire, one of which my grandmother. Thus she smiled. Thus she spoke. Thus her eyes rested on the world. And thus she laughed, because she laughed a lot and had fun with little. She loved life". This exhibition, which takes a memorial character evoking the memory of this tragedy and her overcoming it, is the opportunity to discover a singular work, a corpus consisting of sets that work on disappearance, deletion ... This applies to portraits, and to landscapes made with paraffin, to installations / sculptures evoking the memory, via a video that fades over playback.