{"id":364,"date":"2018-05-14T23:44:08","date_gmt":"2018-05-14T21:44:08","guid":{"rendered":"http:\/\/clairelaroche.com\/buches\/"},"modified":"2024-07-18T21:28:34","modified_gmt":"2024-07-18T19:28:34","slug":"buches","status":"publish","type":"page","link":"http:\/\/clairelaroche.com\/buches\/","title":{"rendered":"B\u00fbches (2013)"},"content":{"rendered":"

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B\u00fbches<\/h2>\n

Au solstice d\u2019hiver on se r\u00e9fugie \u00e0 l\u2019int\u00e9rieur des maisons pour d\u00e9guster des b\u00fbches de No\u00ebl p\u00e2tissi\u00e8res ou glac\u00e9es. La vue en coupe permet alors de traduire l\u2019int\u00e9rieur.<\/p>\n

Les tranches de b\u00fbche offrent aussi une \u00e9vocation de toutes sortes d\u2019architectures: chalet, d\u00f4me, isba, pyramide, hangar\u2026<\/p>\n

La composition obtenue h\u00e9site entre la p\u00e2tisserie et l\u2019architecture; la figuration du r\u00e9el ne m\u2019int\u00e9resse pas.<\/p>\n

La toile non tendue se plisse, se gaufre, se froisse et permet un relief qui s\u2019accro\u00eet avec le nombre important de couches de peinture acrylique. La sp\u00e9cificit\u00e9 de la peinture me parait l\u00e0, dans le refus d\u2019une surface plate et lisse comme celle d\u2019un \u00e9cran. J\u2019aimerais qu\u2019on puisse effleurer la toile et sentir le relief par les cr\u00eates des plis.<\/p>\n

Importance aussi du nombre de strates de peinture qui fait vibrer la couleur. Un rouge pos\u00e9 sur un vert est plus riche m\u00eame si on ne voit pas le vert. Un rouge obtenu \u00e0 partir de couches successives de rose et de orange sans jamais utiliser le tube d\u2019acrylique rouge est beaucoup plus profond.<\/p>\n

Par ses strates, la peinture s\u2019inscrit dans le temps.<\/td>\n

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Yule log cakes<\/h2>\n

Around the Winter solstice, we take shelter inside the house to savour some iced or pastry cream Yule log cakes. The cross-section view then allow to grasp the inside.<\/p>\n

The cake slices also suggest all sorts of architectures: chalet, dome, izba, pyramid, hangar, \u2026<\/p>\n

The arrangment obtained wavers between baking and architecture; I have no interest in the portrayal of reality.<\/p>\n

The unstretched canvas crumples, embosses, creases, and allows depth increasing with the numerous layers of acrylic paint. To me, the specific nature of painting reveal themselves in the refusal of a flat and smooth surface like the one of a screen. I wish one could brush the canvas and feel its depth through the crests of the folds.<\/p>\n

Essential too is the number of layers of paint, which make the color vibrate. A red laid on a green is richer even though the green is invisible. A red obtained fro, successive layers of pink and orange zhil never using the red acrylic tube once is much deeper.<\/p>\n

Through its layers, the paiting falls within its time.<\/p>\n

J\u00e9r\u00f4me HUMBERT\u00a0\u00a0 2015<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n \t

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