La Dame Aux Zèbres
Artiste Peintre
Rupture: A reflection on the intrinsic and graphic qualities of the zebra in relation to artistic and geometric issues.

There is a dialectical relationship – contradictory, but at the same time complementary – between the idea of life, represented by the zebra, and the inanimate, represented by the objects (pipes, beams and ribbons, which are already part of an animated world – breath, women's vanities, etc...).
Norma Bessières portrays this subtle dialectic in the Ruptures series, prompting us to reflect upon the equivalences between objects (beams, pipes) and the living matter of the zebra.

The viewing public is also encouraged to piece the path between nature and the artefact, or vice versa, back together for themselves, playing upon an almost infinite set of possible matches, through diptychs and other combinations.

This dialectic relationship is interesting as part of a diptych, since the terms of the question are clearly set out.
On one side, we have the artist who uses her creative breath to bring to life a creature who is, when it comes down to it, nothing but a little paint on canvas.
On the other side, we have the elements that make up a clearly inanimate geometry which is, paradoxically, drawn from the graphic characteristics of the zebra. Furthermore, the diptych allows the viewer to put the work back together again by reversing the process. To move from the inanimate to the animate or, in another diptych, start with a living being and translate it into geometric objects.
The work, with its very precise and realistic finish, moves into stranger territory, adding to the charm of the artist's previous pieces. We sense a mystery without being able to put our finger on the questions asked from the outset.
5 Paintings