PAINTINGS

At the end of the 1970s, the artist began experimenting with various materials in her paintings, using cotton wool, grain, rice and ropes. The pins she used then became the basic material of her works. By stuffing them with canvases, papers, photographs, sheets, various objects, the artist has developed her own, very individual style and what few artists share – almost immediate recognition of her works. The author of visually spectacular paintings and spatial compositions said that in her work she always let herself be guided by emotions. They are recorded in huge sheets of papers and canvases with a thicket of rhythmically shimmering pins. Monumental paintings studded with thousands of pins bear traces of hours, days, weeks and even months spent by the artist piercing the canvas. The expressive surfaces of these pictures provoke metaphorical comparisons. Densities, breaking and whirling rhythms create structures full of internal tensions. The way they are created is inscribed in processuality, a time-consuming effort combining the methodical repetition of driving pins with the expression of the gesture of piercing various materials. A kind of ritual performed daily for many years, with prickly pins in the hands scattered all over the house; ritual interrupted by household chores, poem writing (about pins), singing lessons and vocals based on one word: épingle [French. pin].