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Arlette Gagnon. Digital Painting, numerical Art, the Beauty of the Detail…


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Arlette Gagnon. Digital Painting

Natalia Rudzina Digital Painting

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Arlette Gagnon. Digital Painting, numerical Art, the Beauty of the Detail…

Cézanne said of Monet: “Monet it is only one eye, but what a eye ! ”. 
What Cézanne does not say it is that Monet it is also much of work… 
At the end of the 19th century not data processing, little photograph and not Television. The culture of the image, the eye, must be acquired by work on the painting and Monet worked while making follow its paintings to find tons them colours. More than one century later all changed, the eye is cultivated much more quickly, but between seeing and creating there exists a way that all cannot borrow. Whatever the means or the support, brushes, brush, knife or data-processing mouse the laws of aesthetics does not change. It is seen quickly that Arlette has the gift of the colour, the forms, the proportions and of the light and even if with a computer program it is easy to deform an image, to stretch the forms, to roll up them and to modify them at will the harmony is not always automatically with go. It is necessary to know to cease the play and to locate the moment when the optimal result is with go. Aesthetics teaches us that the beautiful one has several aspects which vary unceasingly. 
One seldom saw an artist also going far with the level from the detail. It would be said that the artist digs to go to seek in the middle of the image the most perfect part aesthetically. These worked images and deformations are abstract expressionism or informal Art according to whether one is on a side of the Atlantic or other. On the level of symbolism this work starts the emotion because it evokes part of our self with which, with the waking state, we are never confronted. In front of the forests of Hans Hartung, as in front of the images of Arlette Gagnon whom felt is ? These often tormented forms return us to major zones of our unconscious. What Freud names impulses and Jung complex. The evocation of these zones of tension which live us starts a relief for the conscience. It is a true release of emotional load. This phenomenon known and used in psychology (tests of projection of Rorschach) is here with work. For each one among us these images evoke contents which we cannot name but who 
are very active. Moreover they are amplified by the colours and the harmony of the forms and the light. To summarize we will say that Arlette shows us with much talent what our unconscious evokes the night and which often we cannot interpret.