Series of 100 paintings by Benoît Labourdette (acrylic and mixed media on canvas) format of 100x100cm in format 12x12cm, 2016.
Exhibition in the studio of the artist in the fourth quarter 2016.
«Initially, I had a film project : work inside the duration of moving images to record a memory of a gone past. But the making of this film did not occured. Then the objects and materials collected for this purpose suddenly moved to the canvas to leave their mark and then disappear. I decided to become aware of this, let it happen. Bribe after bribe, over several months, choreographic protocols, like so many little shooting sets, have left their traces on squares stretched canvas (I’ve been using the square format for a number of previous films). One day, it was over. Out of curiosity I counted the number of paintings : precisely one hundred. The title of this series of paintings was imposed itself : “The wire”, for symbolic reasons and also for the fact that the only materials used were wood, paint and wire. And then... I just understood that “FIL” (“Wire”), is “FILM” without the “M” (in french, the letter “M” sounds like “aime” - love). “FIL-M”.»
Text about the exhibition, by Jean-Marie Baldner
A cupboard in a house in the previous memories or a Parisian apartment. Inside, a few objects, personal importance, pieces of wood, coils of wire, balls of wool, old rags, sticks of incense, a few tubes of acrylic... This involved bulking is born the desire to trace, an entry stopped, laid flat, a photograph of stop, one before and one after where persists that the sign ; the desire of a gesture where each object would be the producer and the product of its colorful trace, his disappearance. A forest of paintings, crisp one hundred squares, different formats, as in groves, where the materiality of the framework of wood and the cotton canvas form imprint, presence to guess and imagine, expects of other prints enhanced threads, fabrics, wood. Making objects and media material and ephemeral tool, the result of the matrix, a memory and a history of wire and tree.
Because of the mechanical nature of its technical function, photography is for me a matter of time rather than a visual matter : in its silver salts, or its pixels today, it is time which is captured, preserved, reinvented at every glance. Time of life, time of vision, time of poetry.
Painting is the original material of plastic work, which is intimately connected with photography, because it also contains the time of its gesture and its imagination.
Artistic installation, the existence in space and time of artistic forms is crucial because it is the way in which the work is modified by its relation to the spectator.
These practices interact with my work as a filmmaker, have always intermingled.