Reviewes

by Sylvie Renault | 14 Dec 2016 | Reviewes, Home

Those who, like me, met Sylvie in June 2011 and saw her work then will notice the immense leap of the “girl” of that time, who has now become a great painter. I never would have thought that such a vast jump in the “ungrateful” world of Art could be possible for this delicate girl, fearful of an uncertain future, especially for today’s artists. I know something about this: I spent my life trying to explain to people, to my students at the National Institute of Fine Arts in Beirut, that ceramics (my specialty) and terracotta are not “minor arts”, but “major arts”, having been the first expression of man on this earth! So, I am familiar with all the challenges faced by those who wish to express themselves artistically and make it their livelihood. Nowadays, it’s even more challenging. But Sylvie, who carries within her very name a “forest” and has the distinct ability to endure everything, to be persistent and determined, managed with her courage to overcome the difficulties of modern life. The beautiful music of MesAlfie adds beauty and rhythm to her circles, making them even more harmonious. Each canvas takes us on a deep journey, far into her cosmos of circles. From the painting “The Secret of May” to “A dime in a bag”, there is a chasm of difference and evolution! Certainly, all her works were already beautiful. But now a rainbow of thousands of colors has burst forth, filled with hope, opening towards a better world, and this is the message from Sylvie’s universe. I have always taught my students that Art, above all, must touch the heart. And it is this feeling that struck me in her works. I thank her for this. Well done, Sylvie. May Abboud, Beirut 22/11/2016

by Sylvie Renault | 6 Mar 2014 | Reviewes, Home

Baroque Ecstasy Porf. Francesco Gallo Mazzeo The concentration of the sign, the apotheosis of color in a captivating blend, for sight, for touch, all aimed at chasing each other in a grand golden archipelago that forms the backdrop to a grand dance, to an exaltation of chromatisms, gentle, caressing, as can occur in a mental search for oneself, in the body of another, with a melody that softens in raptured contemplation. The background changes, like the hours of light and the suggestion of shadow, capturing a spiritual connection of the gaze, almost a relentless journey, like a grand prayer that unfolds in all directions. An ecstasy, therefore a mystical and sensual rapture that crosses the invisible body of thought from side to side, like a phantom taking on the appearance of a large grid, which binds the horizon and at the same time frees it, like a baroque modernity that is turned towards an elsewhere of the invisible, without breaking ties with its own history, which is that of concentration and meditation, even if everything around is noise, chaos, redundancy, loss of identity! It is precisely this elsewhere that comes together here, with wise adherence to strict rules of pictorial construction and at the same time a hymn to freedom and joy. Abstraction, certainly! Decoration, certainly! But in the sense of hospitality, quotations, blending, which is the highest sense of timelessness and the charm of each of us in this enigma, which we cannot and do not want to do without.

by Sylvie Renault | 28 Mar 2012 | Reviewes, Painting, Exhibitions

Giving the Artist the floor allows us to delve into deep impulses and motivations, idiosyncrasies and passions. Understanding what underlies the creation of a work can be illuminating, and explaining a project makes it fully intelligible. In the case of Sylvie Renault's works, it adds intellectual pleasure to the instinctive pleasure of pure aesthetic appreciation, already satisfied by the undeniable fascination exerted by lines and colors, composition and chromatic texture. These works lead us into total immersion in a world of light and forms that unfold into labyrinths to be explored. Beppe Paolomba

PIU’ FALSO DEL VERO review by Maria Rosaria Fantin

by Sylvie Renault | 16 Mar 2012 | Reviewes, Painting, Exhibitions

PIU’ FALSO DEL VERO EXHIBITION Castel Nuovo, Sala Carlo V. Naples 07/03/2012-09/04/2012 SYLVIE RENAULT In the captivating setting of the Maschio Angioino, steeped in historical references, the exhibition “Più falso del vero” will take place from March 7 to April 9, 2012. Built around the concept of exploring the perception of reality and how Art alters that very perception, ultimately falsifying reality itself, this exhibition will give space and visibility to various artists, unfolding in two exhibition formats: solo shows and a group show; in the latter, we will have the opportunity to see the works of Sylvie Renault. Two canvases serve as bridgeheads into the artist's vision: Le porte del sogno and ζ Ret . With their powerful visual and, above all, emotional impact, these images—veritable apparitions, sustained by vibrant, rich colors—encourage introspection, a search for the self. Drawn into the filled spaces and the voids, our gaze glides, losing itself in countless transformations: folds of the soul, shifting changes of being. Unknown galaxies open up before us, Argonauts lost in the constant pursuit of our missions, sidereal spaces created around a single coherent form: the circle, the sphere, used by nature as an example of perfection and by the artist as the signature of a possible imperfection: a construction useful for exploring emotional infinity, rich in tessellations of plane and space, lost in interconnected geometries that evolve into different forms, yet can always be traced back to their source; like DNA, common to all forms of life yet generating an incalculable diversity. What we encounter is not so much a rational use of geometry with an Escher-like flavor as the evolving repetition of aniconic decoration, itself filled with the anguished questioning that leads human beings to probe the depths of their sensations. By filling the entire surface with graphic marks, the artist communicates the totality of the emotion felt and expressed, the driving force of an unstoppable mechanism, volcanic in its explosive energy and equally overwhelming; a horror vacui, an obsessive filling of space: an all-encompassing experience that leads us to the revelation of new expanses, both mental and physical. Nothing could prevent the transposition of these powerful marks onto a wall or onto an even more complex and articulated surface, a new Galla Placidia, a new Hagia Sophia transformed, brought into the present as a planetarium of emotions. Works like magnifying glasses, reflections of the soul, imperfect