magnetic fields of Mona Roussette
In front of the painted compositions of Mona Roussette, one remains as
well dazzled as taken aback.
Especially when one learns that she is a self-taught one, while one is
fond of the museums and one swears only by the history of the art.
For his spontaneous art is an expression at once "wild" and
eminently refined. It is a
fact that no school ever put to the test his talent that flows from
source, no teaching intervened to erect a screen of preconceived ideas
between the picture and the fury of the painter.
Even when one is unaware of the history of this artist, the way
that drove her as far as its astonishing pictures, one can, in any
innocence, grant them his admiration and attribute them the title of
When one knows that it is a matter of an artist without previous
formation and that she works thanks to an innate artistic instinct,
without references and possible inheritances, the admiration that she
gives rise to, is followed by a feeling of immense astonishment.
For it is a matter of accomplished works that can find completely
their place in the modern creation and that one can easily compare- to
their advantage- to other works of the classical modernity.
It is a matter, in majority, of canvases of rather average sizes – from
the small ones until one meter sixty -, that is to say of "reasonable"
sizes that do not impose a domineering arrogance: their dimensions are
completely able to suit our environment.
They are consequently pictures that one wants to have with
oneself, just as well for their harmony of tonic colours, as for their
forms and their suggestive and well stable compositions.
Their sparkling aspect endowed with a delightful vibration is of
an extraordinary decorative strength.
Because Mona Roussette, all self-taught one that she is, is inhabited by
an identity inheritance that does not lack to show itself in all the
metamorphosises of his paint.
One cannot look at its pictures without thinking that the artist
belongs to the Arabic civilization renowned as aniconique:
Little imports if she began painting with a certain delay and in
a western universe. The
regulated rhythmically lines of arabesques and moucharabieh constituted
his natural universe as early as childhood.
Once put to the work, the artist conquered very quickly and of
striking manner what Pond called "the decorative one" which discovered
itself at the time of his trip to Morocco and that
printed any sound work. It
is a matter, according to him, of an expression "that does not live in
the passion that bursts on a face but that is in the very disposal of
the picture and composition: the art to arrange in a decorative way the
various elements of which the painter disposes to express its feelings".
It is a matter therefore of art of the motive, the art of the
abstracted well ordered forms, the art of coloured jubilation of a world
free of the human face that western anthropomorphism imposed us.
Mona Roussette adopted it and with the time possessed it in an
admirable way. When she
begins painting a flower bouquet, is to describe impassable beauty of
the nature. If it arrives
her to observe its wonders, the complexity of the leaves, the elegance
of the stems, the velvety petals, the flora in all his splendour, it is
rather to dive herself in the big dictionary of the forms and coloured
reports that offers the natural world.
His instinct drives her surely towards a very personal
organization of all these elements.
Its flowers become constellations of signs; motives burst and
multiply themselves for the pleasure of the look, the euphoria and the
quietness of the soul.
Besides, these flowers sign are treated with the same spontaneous
offhand manner that one meets in its pure abstractions.
The joy of the supplementary ones dominates in its compositions:
the red spots sing on made blue fields, the violets on the yellow one:
all is done to stimulate the view, to awaken the mechanisms of the
While looking at these pictures, one wonders who learned so well to Mona
the power of simultaneous contrasts, the skilful combine of the
textures, the precious mixtures of which the effects call us by far
urgently. She acknowledged
us that she did not have master, or to paint, or for the other arts that
she exercises with an ease that renders us perplexed.
For our happiness, she chooses painting as means of predominant
expression. It is an
exuberant temperament as well as sincere that throws itself in her art
with a wild enthusiasm.
Translate the feelings in coloured matters provoke a sort of drunkenness
that sets his touch going.
Because Mona paints with her fingers.
Painting directly with its hands is as old a manner as the world.
Nevertheless Mona Roussette not tinged wild drive of the
primitive act. Her steps
remain knowing and delicate.
To this tactile approach it is not more necessary to see something than
one can resemble "the gestural art".
It is not a matter of strokes of brush or of something else,
violent and disorderly: it is caresses that she lavishes to her
pictures. Play with the
coloured matter, collect it, combine it, give him a consistency smooth
and brilliant, to direct it to the four corners of the canvas,
redistributing its wealths until the all takes a corresponding
satisfactory form to a sort of imaginative narration it is an act that
recalls what one does with a music ultra sensitive instrument.
Vibrations obtained by the handling of the colour result in a
completely comparable harmony to the one of the musical sentences.
Mona Roussette is not at all systematic.
His inexhaustible fantasy drives her still in new domains.
Her flowers, sometimes pulpy, sometimes in semis, are organized
of thousand manners putting in value one in demand chromatics.
But the "bloomed" practice can also, by a simple sliding of mood,
convert itself in totally abstracted composition.
Thus the picture, a spangle of stains is replaced by motives in
spirals on worked tints in watermarks, or even on an united tablecloth
of interlaces drawn with the back of the brush to create the better
effect. Elsewhere "empty
spaces" covered with smooth and clear matters seem to attain jumbled
depths. At last, in another
kind of canvass, the funds spread themselves in vast vibratory ranges
where the coloured melted pate form of the luminescent horizons
recalling the sunsets of Turner.
There is also another category of more structured canvass where
the work of the brushes that follows the one of the hand gets over it.
In this case, the outlines of the forms specify themselves,
introducing more nervousness and narration.
A series treated in monochromes entrains us in a blue made spatiality
where forms swim as in certain pictures of Kupka.
The big trump of this paint is the coloured quality of its paste.
Sometimes worked in thickness sometimes in transparency - the
skilful and warm fingers of the artist know how to draw from it a
maximum splendour-; she hangs the light and does to sing the more
muffled tones. For ten years of work, Mona Roussette attained a big
mastery. Its pictures are
the products of the double treatment that she lavishes to them: the
action of caress, instinctive, expressionist and the one of the brush
that the brings her back to the order, to the history of the paint, to
the rational one of which she distrusts, but that she knows also to
accomplish. She declares
nevertheless that she prefers to use her fingers.
This supposes not only a direct action on his materials; it makes
obvious a bodily contact, a magnetic transmission that transforms the
painted space thanks to his intense discharge.
The registered sensation on the picture radiates and seduced the
look disrupts the senses of the spectator.
This is there where the work of Mona Roussette takes all his
power. By the intermediary
of its pictures, the artist succeeds transmitting a sort of appeasement,
an almost therapeutic love.
It is a gift that, I dare to say, goes beyond the painting.
Eurydice Trichon-Milsani, Art critic.
Mona Roussette, France
artwork by Mona Roussette