Paryse Martin, the witch, and the fairy fingers

Paryse Martin, la sorcière aux doigts de fée

The artist Paryse Martin exhibited at the Gallery 3.

October 27, 2019-4: 00 am

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Paryse Martin, the witch, and the fairy fingers

Paryse Martin, la sorcière aux doigts de fée

Josianne Desloges

The Sun

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The work of Paryse Martin spreads through rhizomes marvelous and monstrous. The lady hybrid, merges, toying with the galaxies, the botanical species and such a witch to the fingers of a fairy.

The first solo exhibition with the Gallery 3 gives an overview of significant powers of sorceress, of his allegiance feminists, the influence of surrealism and of the craft about its art, and especially of his imagination teeming, which is expressed with a mastery of technique impressive.

Showing a technique she had used previously to construct the spheres, she wrapped strips of corrugated cardboard recovered to create scenes of fable. “It is related to the physical movement, the flow of the waters, to winds, to all the turbulence and to the philosophical concept of the fold, of depth, of the complexity of people”, she says, on the subject of this thorough and winding assembly. A boat floats above our heads, our eyes attempt to frustrate the enigma of a hutch empty wearing a hat, high-shape, and a empilade of animals on a long dog with large ears.

Paryse Martin, la sorcière aux doigts de fée

Sun, Yan Doublet

A detail of a sculpture of rolled cardboard of Paryse Martin

“This is not technically complex, but it is time that we put into it that gives value to the coin and that magnifies things,” stresses Paryse Martin.

Born in the United States a quebec father who worked at the border and an american nurse, Paryse Martin compares his work to the sessions of manufacture of quilt that involved his grandmother, his mother and his aunts. When she was in age to be invited, she had a privileged access to the intimacy of the women, their thoughts and their emotions secret.

Paryse Martin, la sorcière aux doigts de fée

Sun, Yan Doublet

One of the sculptures of Paryse Martin

She continues this work of communication with his close friends, his younger sister and his nephews, whose fingers were assembled from the carton or have simply been moulded to create sculptures. She also found this cocoon and creative at the Atelier du bronze, Inverness, where the Gagnon family sharing with it the pleasure of the search.

“I do unique works, where the aesthetic and the technical are always faced with. We always try to go further in the work of moulding, melting and patina. I am always in relationship with other people to do my work, except for drawing, where I fall in introspection, leading to a fight with the spelling and space.”

Paryse Martin, la sorcière aux doigts de fée

“The herbarium : leaf 7”, a drawing of Paryse Martin

SUN, YAN DOUBLET

Cosmogonies, magical and mysterious, his drawings, mixed vegetables, characters, and fluids to arc-en-ciel. They stem from a feminist reflection around the botanical, unique scientific domain to which the “weaker sex” could be interested in a certain era. The botany of horrors, a design of huge and complex and the depth and the perspectives are so worked that it gives the impression, by far, to be a collage, a throne on this part of the room. “The inertia, is death. It is necessary to revisit the joy, rebuild the things. It is of the order of magic, of the transmission, the spirituality and the gift,” says the artist.

Paryse Martin, la sorcière aux doigts de fée

“The botany of horrors”, a drawing of Paryse Martin

SUN, YAN DOUBLET

His sister horticulturalist brought him a flower, now immortalised in bronze and hangs upside down, like the rabbits and the birds in the still lifes of the Dutch. At the base of the stem, the legs of a pheasant are a specimen, half-bird, half-plant. Other plant knotty evoke the lungs of some invisible being. “It is a questioning of the withering of the beauty, on old age,” notes Paryse Martin, radiant with her mane of silver.

Paryse Martin, la sorcière aux doigts de fée

Paryse Martin

SUN, YAN DOUBLET

Birds, rabbits and creatures of hardwood form a bestiary drawing. The hands of his sister and his nephews form the body of the mother-bird (Limbo 2) spinning multi-legged, in a sphere of influence and an imbalance perpetual. The animals, as usual, drape materials, improbable and get all dressed up, in accumulating the masks. Of small sizes for long legs, make up a flock of creatures with the body of the egg or vegetables. Paryse Martin plays the witch with all that teeming, lives, and dies.

Paryse Martin, la sorcière aux doigts de fée

“Blade 2”, a bronze of Paryse Martin

SUN, YAN DOUBLET

On the back wall of the gallery, in the collage botany of ladies, eyes bore through a large leaf of Butterbur — an herb supreme, which extends like a fan above the ground. “This is my work feminist. The eyes cry, they see, they have a presence, a clarity. For me, the roots that connect them to illustrate the memory of the women, all the links that weave between the lives of courageous.”

Paryse Martin, la sorcière aux doigts de fée

“Botany for ladies,” a collage of Paryse Martin

SUN, YAN DOUBLET

The exhibition Limbo and reversals of Paryse Martin continues until 17th November at Gallery 3, 247, rue Saint-Vallier est, Quebec.

Info : www.lagalerie3.com

Paryse Martin, la sorcière aux doigts de fée

Design lead (retail) of Paryse Martin

SUN, YAN DOUBLET

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