Carnets pour l’exile: According to tradition, every exile needs to wander aimlessly from time to time, not so much to find a shard of home at the next whiskey bar but to see what there is to see when the city has become your life to live.
Also, a good-hearted exile should think about year-end presents for those at home who have not yet been arrested.
I ran into Virginie Roux-Cassé‘s painting, and Virginie herself, quite by accident some years ago now. Her latest exhibition, called “Les Saintes”, she says, is inspired by an encounter with the Roma holy patron Sainte Sara la Noire, repudiated African Queen of King Herod and servant to holy patrons Saintes Marie-Jacobus and Marie-Salomé*.
“The people pray to [the saints’ icons], venerate them, adore them,” she told me during her opening cocktail the other day, “They dress them, they cover them with, they pile on them, various-patterned, many-colored, golden, ornamented scarves, tunics, coats, crowns, jewels, crosses, rosaries…The beauty, divinity, humanity just bowled me over”.
From that experience, she decided to investigate the lives and deaths of woman Catholic saints: more than a year of portraits in tempera and engravings on the theme is the result.
I have two paintings by Virginie Roux-Cassé. The one, acrylic or water-based housepaint on fiberboard, is a tilted dry sink (?), a tray (?) of apples hanging just over my dining table. Somebody picked these impish apples from an untended tree in (Virginie’s?) back garden.
The other picture – I call it “Bird Cage” –, in clotted acrylic with smudged newsprint collage, perches above my talk-on-the-phone-red-overstuffed-armchair (since my mother died mostly used with my Son, who lives far away, and Karine, with whom I like to touch a word when she’s away).
The Bird Cage is, I think, a lamp or lampshade in crinkly paper (flame-resistant crinoline?) and thick structuring wire with, set alongside it, a small vase. The vase has a big twig of (cherry?) blossoms jammed in it, too big for it. (‘Though you’d not guess it to see her walking home in the evening, Karine sometimes tears off flowering twigs or plucks up flowers and brings them home to make a “found bouquet”. It shocks me. Please don’t call the cops.)
In the foreground of it all I’ve described is a triplet of round fruits. One of the fruits is a distinctly different color than the other two, set slightly but distinctly behind. I sometimes try to make out the smudged newsprint but I’ve never succeeded.
I bought the impish apples and Bird Cage because Virginie Roux-Cassé’s take on the world around is not mine but is accessible to me, opens a garden gate for my feelings and my imagination. What’s that poem about the path not taken?
Like everybody else, contemporary artists such as Virginie Roux-Cassé have to come to grips with the increasingly vast pile of past and present and their infinite substacks: artists, oeuvres, esthetics, theories, concepts, approaches, materials and techniques. Most triangulate their hands at a point between story-telling and radical expression of a reality uniquely within them and what I think of as "esthetic life extensionism".
For story-telling, put somebody like, say, “post-black” painter Rashid Johnson, who did, notably, the interior “Broken Nine” mosaic at the New York’s Metropolitan Opera. For unique reality, think, say, of Jorinde Voigt, who paints the bio-quantic reality that undergirds our ordinary here-below. For esthetic life extensionism, an artist called Leon Loewentrautsprings to mind. Loewentraut has mastered a certain "Picasso signature style" that enables him to target an Audi-driving market that won’t pay for one of Picasso’s many thousands of second-rate squiggles, can’t afford the real thing, but, nevertheless, aspires to class and taste.
Virginie Roux Cassé's triangulates someplace between all three. Her distinction is that when I look at her work, I feel her standing looking with me. She's not whispering as an other artist might; sharing the experience of visual emotion is enough.
I once visited the upper-story greenhouse that serves as her workshop. I was taken aback to see - some unfinished, some painted over with other styles - in recognizable painterly styles lopped about the place. They were well done, too!
I was taken aback because for me the thing that has marked for me Virginie Roux Cassé's work is that it reminds me of nothing else that I've run into as I look around the world. Among the many excellent painters active today, Virginie Roux Cassée is my very own Le Douanier Rousseau.
Later, it struck me that the discarded “style” paintings did not represent a search to produce an effect or a search for a technique or for a style but rather represent her effort to understand, maybe to find and isolate, an effect on an (herself as an) onlooker. Doing that, she brings out my "emotion of seeing": in dance, I would say that the choreography has enabled the "sensibility" that enables the experience of dance performance.
____
*Saint Sara la Noire is patron of the Roma (or "Gypsy") folk. Many of them claim an origin in India, an, indeed, Wikipedia identifies Saint Sara with the goddess Kali. Saints Mary-Salome, Mother of Saint John, author of the Apocalyptic gospel, Mary-Jacobus, Mother of Saint James the Apostle, along with Mary Magdalene, Jesus’ companion in love, were among the original disciples of Christianity’s Messiah. Most were witness to Jesus Christ's Resurrection. All are mentioned in the canonical gospels. Fleeing Israel in a rudderless boat sometime in the third decade of the present era, these woman disciples of Jesus providentially washed up on the French coast. They were long believed to be the founders of Christianity in France. The pilgrimage site for Saint Sara is at Les Saintes-Maries-de-la-Mer, a village in the Camargue.
Contact Virginie Roux-Cassé through her website: virginierouxcasse.com
Excellent post.
Posted by: Jill Newnham | December 01, 2024 at 03:01 PM