Colline Henry

Taking and having time. The paradox of this possession that we can never truly possess.

I believe that the boundaries of the world are matched only by those that people have in their minds;
I believe that the world must slow down its mad rush and that art, as a major work of contemplation, invites us to take ownership of time and to read the details. Because "time is a psychodynamic operator that allows views of the Mind" (G. Rabinovitch) and "the unconscious knows no time" (S. Freud). 

My approach is fundamental research that takes place over a long period of time.

Contemplation and presence, combined with a gesture that I want to be precise and restrained, are important in my creative processes.

I explore and experiment with various concepts and themes in order to create, thereby reflecting my introspective phases and my engagement with the world around me. Together, I call them my research clouds. These are constructed and transformed according to chance and encounters.

My clouds : listening, speaking, forgiveness and the unforgivable, scales, mathematics (golden ratio, golden spiral), fractals, consciousness, the unconscious, dreams, patience, contemplation, streams of consciousness, presence,

flows, waves, exchanges, connections, transmissions, stochastics, evolutions, pareidolia, the other, time, rhythm, fairness, justice,

accuracy, harmony, balance, asymmetry, order, the human body, the senses, the systems, living things, matter, silence, wisdom...

Origin

It was in Istanbul, Turkey, and then in Essaouira, Morocco, that I discovered and sought to understand the traditional star motifs of Moorish art, and where I developed a body of work based on the breaking of their symmetries and geometric abstraction.

I then spent a more urban period, between Paris and London, during which I gave my research a monochromatic twist in relief.

I also produce works on paper, linocuts, etchings and aquatints, as well as drawings made with inks and walnut stain that I make myself.

path

I initially studied humanities at university (Paris 5/EHESS).

As a self-taught artist, I have been conducting pictorial, geometric and chromatic research since 2010.

I worked in the production and coordination of international music events for about ten years, then, with the resumption of multidisciplinary academic research on streams of consciousness and musical rituals, I gradually transitioned to a different way of organising my time.

 Like a weave, I borrowed these different voices simultaneously for a time.

These paths echo each other, with music, people and painting being the driving forces that offer me some keys to understanding the world. They allow me to retain my authenticity and, while drawing on the past, to continue to grow and share.