Backhand of Venus
Since 1997 Nathalie Pirotte travaile the wax cofferings which she pours on a bidimentionnel support. If the artist already sketched under the parrafine, the forms simplified by silent body, at the moment, outlines appear little by little from the material to loosen the subject of it.
To confer another status on her images, she draws her inspiration from the feminine press. These figuresNathalie Pirotte borrows them from our society. Disembodied women,
lascivious beauties extracted from magazines, their éffigies are subjected to riruels gestures of the plastic, which masks them of warm wax.
The artist proposes us more or less legible figures eased by the presence in thick coats of paraffin wax.
Under this translucent skin, it is by the game of collages that she builds her models. Silouettes is cut, returned, then stuck. Once crossed by brilliant variations. The
translucent substance reveals the underlying curves. The feminine curves so evoke backhandsof Venus cut up and inqiétantes subjected towards the spectator. Lors dices our vision of these
modern goddesses is reduced to a heap of skin suffocate by their own condition
Suffocated, the usually shrill images of advertisements dissolve to leave only forms and dematerialized tints. Through the waxy filler, the meaning curves display a differentiating feeling of sensual sweetness and provocative seduction.
Enter visible and imperceptible, silouettes seems divested of some essential essence of the human being. The work of Nathalie Pirotte deals as the incorporalité of the soul as spiritual substance. By its transparency and its symbolism, the materia provokes a reflection on the various readings of the spirit.
Adèle Santocono ( ISELP)