Papouin enjoys sculpting with paint and exploring its metamorphoses.
A painter, she leaves the canvas and its frame to constrain the pictorial
subject. Using the laws of gravity, the "sculpted" painting
folds, glides, and collapses. The plastic acrylic escapes from the shackles
of form and becomes dynamic and unpredictable. Ms. Papouin's art
consists of both the support and the painted sculpture that covers it.
The artiste shapes her canvases. The acrylic objects she "paints"
become clich's of daily life taken from objects that are industrially
mass-produced. The artist's work, like society, consists of two
opposing forces, namely the artistic and industrial. The works of art,
in both their form and vibrant pop colors, force the viewer to reflect
on the opposition of our consumer society and the mass media to the
meticulous work of the artist and craftswoman.
(...) By having the paint "spill", the artist has her artwork
participate in the long debates of "the death of painting"
that started with the work of Marcel Duchamp and perpetuated for decades
through Klein, Pollock, and numerous others' artwork.
More importantly, Laurence Papouin's art belongs to post-modernism,
which Jean-Francois Lyotard and Gilles Lipovetshy have exhaustively
studied. With a great deal of irony, the artist exploits society's
obsession with appearances, the superficial, and the dazzling - a society
in which one can become "queen for a day" - a public swept
up by a passing craze and blinded by advertisements.
Translation Cristina Schoonmaker.