LandEscape Art Review // Special Issue | Page 30

Land scape
Marie Rioux
CONTEMPORARY ART REVIEW
reproducing all the colours with acrylic on the edges of the frame . . . In this way , whatever the position of the observer , the work continues to unfold . I also choose the appropriate size for each painting according to the atmosphere , the surroundings and the spaces I wish to depict . This size is decisive for the composition . Because of the large format of my paintings and my hyperactive and frenetic temperament , executing the work is a particularly dynamic process . I constantly move about , from the wall to the floor . I work standing up or on my knees , but rarely sitting down . . . My wall easels are collecting dust . . . ( smile )
In addition , I do not restrict myself to brushes . I use everything I can find to hand ( rags , steel wool , nails , sponges , etc .) to create textures , transparencies or effects as needed . I never execute my work following precise rules , except in certain cases when geometrical diagrams are sometimes spontaneously traced at the very end . More recently circles , somewhat by magic , have been introduced when executing my works . For me , these circles signify happiness , a return to what is essential , to exploration , creation . . .
What has at once captured our attention of the body of works that we have selected for this special edition of LandEscape is the way your captivating investigation about the relationship between your painting and the actual places you painted is the way you provided the visual results of your analysis with autonomous aesthetics : while walking our readers through the genesis of your pieces would you like to tell us something about your usual process and set up ?
Your question makes me want to point out that I absolutely must grasp my immediate