Petrin at Charlot's : Machines and Life
Oct.29, 2019 - Jan.11 2020. Paris. More
Petrin's paintings are not digitally created. But the omnipresence of elementary shapes work quite like pixels. And machines are always present, though quite small in vast spaces and presented rather ironically So, Pétrin gives a double graphical expression of the omni-presence of digital in our world. The global semi-pixelization of the whole space makes visible the invible omnipresence of the "cloud". On the other hand, the small keyboards remind the tablets, smartphones or even game consoles without which life is now unthinkable.
On December 22-24, this materially and conceptually immersive digital universe will host another kind or artistic reserach about man-machine digital relations, with the presentation of the Roxame software and the works of the Algorists.
Presentation of the artist by the show curator, Valentina Petri
On the occasion of her first solo show, Galerie Charlot invites the artist Dominique Pétrin to take over the gallery's space with her dazzling in situ installations. Made of silkscreened paper, cut and glued to the wall, Dominique Pétrin's installations cover the entire surface of the walls and floor to create an immersive environment.
These silkscreened paper frescoes are freely inspired by Greco-Roman ones, and include printed elements referring to domestic life and our consumer society. The installations develop into a virtual architecture referencing the visual configuration of digital interfaces and Internet space.Analog and digital merge, real and fiction mix, the viewer's gaze is disturbed by this trompe-l'oeil and put in a mise en abyme between true and false.
The artist describes her installations as a contemporary "theatre of the imagination", where objects of mass consumption, electronic devices, surveillance apparatus, plants, medicines and other everyday objects are staged. Domestic and virtual space merge, the s creen no longer being a barrier between real and virtual, but a frontier that the artist enjoy to cross over and over, collecting new elements each time. Superimposed windows, toolbars, banners, columns, data and 3D objects underpin the architecture of her aesthetics yet surprisingly analog in its execution.
Its motifs, a kind of digital tapestries that cover the walls and floor, play with the archaeology of digital technology, strictly linked to the loom, ut also with the contemporary history of design, from Eduardo Paolozzi to the Memphis Group. Dominique Pétrin's environments are very colourful, pop and apparently naive geometric spaces, but which reveal in a second respect a certain unease and detachment.
Lucid dream, psychotropic experience or bad-trip?