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Silent poetry

Catherine Fourniau exhibits her bronzes made in her toscan workhop in Pietrasanta.
The Liege’s Exhibition features about twenty bronzes, of both small and medium sizes. Among her most recent creations, the artist exhibits many sculptures combining bronze and wood, along with two pieces combining bronze and iron.

Her work, marrying silhouettes and surfaces, alternates sensuality and vitality, emotion and suffering, crowds and lonely beings. It successively depicts symbolic forms of femininity and the image of a walking man. The work on materials emphasizes the evocative power of the plastic shapes. The contrasted evocations of body language illustrates various themes like resistance, flight, slavery, freedom, genesis or farewell. Her rich semantic palette also include mythological heroes.

In my opinion, rupture and regression are two keys elements to understand Catherine’s artwork - and both those elements achieved maturity at the end of the 80’. Her works mirrors the historic reality she wants to capture and surpass by means of a new cultural outlook.

Until the beginning of the 90’ or so, the Woman’s Body was her cultural and artistic area: the female body disseminated smile and tears, games, and protests of the plastic art.

We can notice some permanent features appearing then: the human figure multiplies, exploring space far beyond the area around the statue, it is a necessary expansion for a possible move (a circular move as in «Niente di tutto me appartiene» or a laborious and collective move as in «La montana di frente»).

The fixity of the human figure is lost, and the first male silhouettes appear – it is no coincidence that it shows a very handsome and hesitating Orpheus on the edge of his descent. Those male silhouettes barely have any sexual or muscular characterizations, they are almost even.

The female figure also loses many of its previous features, and comes down to its essence: a multitude of centimeter-long items, confusing the spectator’s eye, leading him into another space-time.

About the sculptures diplayed at the Teatro dell’Olivo, we can notice that what we just said comes to fruition in several works. I especially think of «dear little allies», a definitely high-level work that is, in my opinion, the embodiment of Catherine’s trajectory so far.