PROFESSIONAL ARTIST

Marie-Blanche Bayon seen by Sarah Heussaff, critic and art historian: What brings us back to oneself: Between clairvoyance and symbolism. Marie-Blanche Bayon's work seems to question the infinitely small, at the heart of which remains the human rooted through the infinitely large between the earth and the cosmos. In the midst of these two poles crystallize the mysteries of interpersonal relationships, existential quests come to life and the grandiose power of the imagination flourishes. Central to the artist's work, these themes are embodied in the composition of his canvases, under the features of multiple motifs all infatuated with an undeniable symbolic charge. These symbols provide us with reading keys to decipher and interpret these rich pictorial enigmas.

First, there is the eye; of the one who pierces and analyzes the soul. Inquisitor, he is the one who knows and who will end up unraveling the fundamental secrets. Then there is the stone; round and soft, the very one that sometimes ballasts us or anchors us to the ground, but which, on the contrary, when it is superimposed on others takes the form of a mound on which we climb and which makes us take of height. Then comes the shell; that of a broken egg, the very one that in the work of the illustrious surrealist Salvador Dalí symbolizes life and the state of rebirth.

And finally, it is the sky that we reach.

The celestial representations are fiery, serious and shadowy, but the artist, benevolent, never leaves us without a landmark: the white light so symptomatic in her work. This light is radiant and vibrant and sometimes emerges from the sky or sometimes from the earth. Marie-Banche Bayon's work is situated in this duality between the embodiment of the prosaic questions of existence and the opportunity to break free from them and rise up. Whoever penetrates his canvases undertakes the long path of the experience which leads to the aesthetic, to the philosophical one, allows us to touch the science of the beautiful.

The artist adorns her fine linen canvases with a coating produced from marble powder, which she ends up sanding, leaving no grain of the canvas visible. Marie-Blanche Bayon then sketches her subject in dry pastels and then continues in acrylic which she works in successive glazes. It is then a play between opacity and transparency without ever, again, leaving a trace of the passage of the brush. This technique gives his paintings a dreamlike, almost supernatural air. It was René Magritte, another eminent surrealist painter who in 1936 delivered a self-portrait entitled La clairvoyance. In this work the artist represents himself painting, turned towards his painting, on which is reproduced a bird while the study model is none other than an egg. Clairvoyant, he teaches us that there is more to his work than the figurative representations of his subjects and that with lucidity one can read omens. It is this same clairvoyance that emerges brilliantly in the paintings of Marie-Blanche Bayon. Instinctive, his work also seems to be embodied in the words of Marc Chagall who said:

"I am unable to see how I draw, it is my hand that sees, my eyes are turned inwards".

From time to time, the work tends to detach itself from the figures and their emotional charges to invite us to some fuzzy forms of abstraction. The artist then offers us the possibility of projecting ourselves into various interpretations and thus seeing in the canvases of Marie-Blanche Bayon, what brings us back to ourselves.

Sarah Heussaff