The French artist Virginie Mézan de Malartic qualifies her creation as “painting of beings” as the contrasts modelled on man occupy an important position. Exploring natural or artificial light, playing with areas of shadow and light, allows the artist to update a panel of emotions and feelings. Fly-on-the-wall, the characters that make up her paintings find themselves frozen in a moment, as if suspended outside of time, interrupting their course and leaving a place for reflection and introspection.
The oil paint exclusively applied with a knife is superimposed with several layers in order to fix the pigments and to give the material depth. Not using finishing varnish that would fix the shapes and colours, the artist enjoys the nuances and transparency that one single touch of colour can come and wreak havoc.
Her compositions therefore invite the viewer to contemplate the universal scenes of everyday life that sometimes remain mysterious trips. Nature, the settings therefore constitute lines and shapes, structures and constructions that take us back to the creation of life. Virginie Mézan de Malartic invokes in her practice a form of verticality that symbolises the necessity for everyone to distance themselves from their environment, their existence and their world.