Programming

We witness an archaeological excavation of unknown sensations. Disturbingly eloquent, Suzanne Boucher's works on paper communicate the sensual pleasure of drawing. This series of drawing-paintings, the fruit of recent germination, takes the words right out of our mouths.

For Suzanne Boucher, the pleasure of drawing is animated by a fury for painting. The artist uses pencil paint, a technique that is both supple and rigorous, and she scours the pigments with turpentine. The dilution of the pigment creates transparency, while the scouring brings out the work's anamnestic signs. Pre-colored with light, luminous stains, the paper is fertilized. This fertility of the saturated support - paper whose thirst has been gradually quenched - gives rise to unusual forms. What are we given to see: a stump, a tree, a body, a shadow, a root? The unspeakable, that which escapes our recognition of these enigmatic hybrid forms, is to be found within the very process of their creation, bringing some visceral spasm to a climax.

Whether dissociated or grouped, autonomous or atmospheric, we judiciously set ourselves the trap of free association. The opaque fluidity of these chiaroscuro paintings gives free rein to narrative interpretation. As a result, these works allow for the anecdotal, not random, formation and overlapping of diptychs, triptychs and even polyptychs. These vegetal motifs emerging from nothing evoke the entrails of a secret land infinitely rich in mystery. Suzanne Boucher appropriates the fruits of this obscure garden marked by the traits of impossible capture. She tackles the problem of displaying an ever elusive word and its representation. The artist invites us to feel the marks of her trajectory right through to our skin. Our gaze is taken by the belly.