"If one blind man follows another, they will both fall in the pit". A written or painted work is never finished; it gives rise to others and, nourished by the past, serves the present. Elliot-Moretto seizes on Bruegel's paintings as parables and takes them into her world using her own idiom. Ensconced in their cassocks, these six men grope their way forward. Do they at least know where they are going? Are they blind, or is it unwillingness to see that alters their discernment? With their backs to the light, they are unable to make out a door, a window, an exit ladder. Will they have another chance? Is there another way out? Maybe this exit is not meant for them. Elliot-Moretto's approach is more metaphorical than the mere description of a disability.
The white canes her figures carry are distinctive signs rather than practical tools. The hand deciphers, caresses the walls. Instead of tapping the ground and helping them find their way, the cane trips them up. If we try to follow appearances too closely, we find ourselves trapped.
Outlines fade into the background like phantoms. Faces do not exist: just a few vanities endure. The colour palette concentrates first on Van Dyck brown and burnt orange, laying down the foundations for chiaroscuro. As in Caravaggio's work, the terrestrial world is plunged into darkness, and light tries to filter
in. There is dramatic tension in these motionless figures: the curtain falls, filling the canvas like a theatre stage. For the final bow, the actors have laid down their canes like weapons. The verdict has been reached. But if we count them carefully, there are only five of them now...
The sixth has escaped to the other side. The way – like faith – is at last open: 'He who saves a life saves all of humanity!' The horizon rises, the cane becomes a pilgrim's staff. Continuing on from her previous series entitled 'Via Crucis' (a woman's Way of the Cross), Elliot-Moretto pursues her quest and keeps hold of the thread that runs through her work. With humility, she follows the path and, despite her ceaseless questions about the human condition and the human comedy, she seems to have found her guide: painting itself, which leads to clarity of vision.
To link these paintings to her last exhibition at the Cloître des Billettes, she is also presenting a few fusain drawings. They show the same marks and scars that can be found in both her previous and current work: the red cloth recalls the swagged curtain from the tragedy of the blind, as if to remind us that on the road taken by 'the walking man', all he can do is put one foot in front of the other.
Geneviève Elliot-Moretto was born in 1948 and lives and works near Paris. She studied at the Paris School of Applied Arts and the École du Louvre, and attended life classes at the Grande Chaumière, in Paris. She began teaching art in Seine-Saint-Denis in 1992. She has regular exhibitions in France and abroad, at cultural centres and galleries. Galerie BE-ESPACE represents her permanently. Strongly figurative, her timeless style is influenced by her interest in the human body and its moods. In depicting the body, she uncompromisingly reveals her contemporaries. It is hardly surprising, then, that she cites Francis Bacon, Berlinde de Bruyckere, Rembrandt and Bruegel among her influences.
further info concerning the artist:
Painter, mixed media, figurative
Genevieve Elliot unravels the twisted son of a human condition that is both experienced and sublimated. On black backgrounds, the artist directs the light on another possible world. Playing with colors and textures, the subject shines and calls out. It implores, suggests. No certainty, just a field of inquiry, an invitation to create exchange. Suffering is not spoken, it is the common visceral link. Rapidly, it pierces, and then continues. Constant companion, it passes through the heart and body. It dresses frames, skinned alive. Genevieve Elliot carresses the skin to dissect souls. She presents an x-ray of the repressed, through curled or languid bodies : the expression is born from the evanescent flesh, corseted silhouettes of banal nudity. Bold colors, dark blood red pigments, blue-whites, create her dramatic compositions. The artist engages in deep intimacy - ours and hers ready for abandonment, decay before the renaissance. Femininity is freed, and with it, humanity, beyond all sexual nature.
To discover the singular strength of G.Elliot-Moretto's works: souls and bodies are trapped in the game of earthly manipulation.
Adorned with a red cardinal (cardinal) protective and decorum, "The Manipulator" awaits his visitors. His scrutiny keeps distance with this Machiavellian flame radiating from the bottom of its orbit. He is not alone. Connected to her attire, dress couture - who loses his head - it stalks its prey, the grips, without loosening the grip of his fascination player. The artist Elliot G. Moretto is bold. Set design as well. For this first installation, the stage is set, the audience caught up in a world without compromise. The raw truth is, it came time to confront.
And take the path of the cross, "Via Crucis" (1) in its feminine. The visual tracing his artistic questioning on this cycle of myth and divine. She managed to put into perspective his experiences - human - and its future / be creative. For work on the Passion of Christ divides calls. It is not trivial to expose the suffering, pleasure, death and resurrection: the laying bare personal and collective returns each with its own existential foundations, without complacency. With many levels of reading, decoding, it is for everyone, scholars or not, believers or not, with a disarming sincerity and humility. The methodology used each technique and painting on paper suggesting the pious image, pigment "caput mortuum" symbolizing death and the human, gold leaf embodying the divine element, bandages and tissues, nuts, wire and leather ... formats fabric-covered interior evoke the progress, visionary and inspired other formats on wood emphasize the spectacular exhibition.
Resurrection, rebirth, or at least, the color palette turns pink, turquoise, piercing the stormy skies, shrapnel-resistant gray lead. Drop flesh color of their organic substances but remain true to the twisted body of Francis Bacon. Still bruised, they are struggling for survival, freedom, they insist on. Tables are often two, or diptychs actual circumstances, like our dualities: pregnant animal and humanity slips away. Beyond appearances, Elliot G. Moretto strives to pull the strings of the Gordian knot of life. Relentlessly, she confronts us with the Preacher, "omnia vanitas vanitatum Vanitas" ("Vanity of vanities, all is vanity"), and helps us to understand with his series of "Sunrise" (2) that while "At 'Western Front' (3), every day the sun rises.
(1) "Via Crucis" the 14 Stations of the Cross reviewed in 20 tables.
(2) "Sunrise" 2009 creations.
(3) American Film Lewis Milestone, based on the novel by Erich Maria Remarque.