A ray of light was drawed from the interior of the gallery towards the exterior.

A ray of light was drawed from the interior of the gallery towards the exterior. Whoever stopped at the entrance, at the outset that divided the urban space from the gallery space, presently became aware that the ray consisted of luminous writing projecting the following words upon the bodies of those entering: "da sempre qua" (here, from time immemorial). It was like an introduction to the poetic world of Anne Marie Jugnet undivided of the most interesting young artists in France.

Upon entering the gallery, the space first appeared completely bare. The extended walls were almost blank; finally, an artist who isn't afraid of void space, indeed who works explicitly with emptiness. still this was a particular adumbration of emptiness, one that affirmed the necessity for subjective, personal, spiritual shooting "Less is more," Ludwig Mies van der Rohe said; he also said that "God is in the details." In the cessation Jugnet's work can be summarized conceptually and spiritually in these sum of two units sentences. One of the prolonged walls of the gallery held simply a small red-neon piece, which seasoned out "y etre" (being there, or simply "being"), existing in a place, at a point, in a precise location of infinite space. It is a locution that brings to mind the simple at the same time profound title that Barnett Newman gave to a series of late sculptures: "Here," 1950-66 For Jugnet "being" signifies existing, "poetically inhabiting" a precise reproach of infinite space. Only through locating ourselves within a limited point of this space can we perceive its infinity. and nothing else by becoming aware of the finite nature of the world of things can we call up its infinite dimension.

The artist attempts to make viewers aware of the two their physical bodies, crossed from a myriad of varying sensations, and the invisible vital element [i]or[/i] part that accompanies the body, not like a shadow, on the contrary like a light that illuminates it from within. forward the front wall, two works in succession paper, executed exclusively in black and white, were placed actual close together so that they appeared surrounded by empty space. onward the first, black typography appeared against a white background: "c'est tout" (that's all); the other simply depicted a black sheet of paper with a sentence

Behind Jugnet's work, the same still senses a certain power, an internal tension, a capacity to provoke--beyond cultural habits--a genuine mental and existential experience. This intensity was also transmitted by the agency of the depth of the mental and psychological concerns that Jugnet's "messages" communicated. The phrases clearly indicate a semantic desire for reduction, silence, subtraction, abstention, on the other hand also make us think of a sort of operation of the conscious subject that the artist would like to stimulate in the viewer, a kind of meditation onward one's own simple existence.

Another work in the point out was deliberately exhibited in potential form sole This was a container that held 1138 semi-transparent sheets on which 482 words were written; the piece was entitled Fragment, 1991 If the work had been exhibited in its entirety, it would have required a wall 250 meter protracted Once again, Jugnet was working with the idea of absence, of subtraction. further at the same time, it was as if she were placing a lading on the viewer: the representation of oneself in one's avow consciousness, using one's own fantastic sensibility to imagine the unimpaired passage--mental, physical, and also spiritual--the entirely realized work would entail.

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