Amandine Maas, Painter and Star explores the slowness, the clumsiness, the reality that despairs of being able to reach her goal of perfection. The time and immobility of painting, the poorly assured structural form, the ridiculous and participative performance are in her work a means of speaking about the reality that surrounds her, about information that accelerates and distorts our perceptions. Living paintings, sculptures for the body, participatory performance; each of his pieces places the spectator in a particular relationship of intimacy, and incites him to interact and take action.
Her work is an ode to all the situations we don’t see; to the medium, to failure, fatigue, anxiety, weirdness, boredom, the growing leaf, the slumping teenager, the flattened dog, the deflated ball and the businessman playing Candy Crush. In life and on social networks, she embodies her own casual character, plays and replays her role as a woman artist, and uses her paintings and sculptures to produce moments of life, intimacy, absurdity and question the place of the beholder.
Works based on mutual aid and benevolence, which in her eyes are the main keys to action in our time. It is together and with our close circles that we think of new ways of imagining the future, it is by being carried by groups that social actions are set up and that the world changes. This is why it seems important today to highlight the bonds, the delicate relationships, the hesitations and shyness induced by encounters, as well as the embarrassment, the discussions, the laughter and the rich and benevolent exchanges that result from collective actions. Provoking them through sculptures and in the form of performances in an exhibition space is a way of engaging the experience of encounter, and of proposing a living picture of social relationships that are formed live and often generate unexpected staging.