Safia Hijos make some bisques. Like those from Sèvres or Meissen. Fine porcelain sized to be displayed on a fire place or a pedestal table, whether or not a doily instead of pedestal.Tiny delicate creatures, handleable, simple – suggestive – and full of vices and irony. An object to “conservare”, “to maintain”, to use the etymology of the word “conserve”, but kitsch at will.
Safia Hijos claims the very essence of the Kitsch characterized by its ability to reproduce, to imitate and the plurality of languages created. This strange and empty space between the sculpture and the object. An artwork and an object, a piece and an everyday life object, a statue and a figurine.The work of Safia Hijos seems to claim a kind of fragility and delicacy which dominates following the devastating effects of the barbarism.
The work of Safia Hijos seems to claim a kind of fragility and delicacy which dominates following the devastating effects of the barbarism
The painting, even « the painting-painting », is the antithesis of the Kitsch, large size establishes himself like an artwork. And the work of Julie Susset takes up space, literally and figuratively. Our eyes go as fast as her brush; it stuns and don’t make room for thinking but contemplation.
This work, impressive, is a window on the primordial forces of nature. Here the gesture creates the sensation: fast, full, sometimes animal. An emotional intelligence which, at some point – because you need to stop at the right time – take shape.To push the representation of a primeval nature to the limits is a demonstration of its own fragility. The choose of Julie Susset who catches in a fast gesture which tends to disappear.
Safia Hijos and Julie Susset, in close juxtaposition, are delicate and feminine iconoclasts, always prepared to break the obvious, one with the hardness of a brittle material, the other one in an impressive gesture like a danger in the Forest.