Pascal Haudressy was born in 1968. He lives and works in Paris. The artist’s family origins can be traced to Uzbekistan. Each of his works forms a link between the remote past and the future, and between science and myth. Aside from the history of Western art, the art of Samarkand has become for him a source of constant reference; an ornamental art where everything is both fixed and vibrant, where interlaced patterns form narratives and give birth to a flow of images that keeps reconfiguring itself continuously.
The screen is a veil that conceals things, yet it is also a surface where images reveal themselves. This is the “idea-experience” on which Pascal Haudressy’s new research is centred.
Everything is and can become a screen: this way painting, sculpture and video get to interact and to converge. In Sunflower shadows, light, surface materials, images and movements form a continuum where virtual spaces and real ones connect and merge.
First there is the space of the screen or the canvas, then there’s the picture of an architectural scene with its lights and shadows. Superimposed, and as if melted into the painting, appears the image of a diffuse landscape – a field of sunflowers – with a strangely shaped star floating above it, a hybrid between sun and cellular body which seems to re-create itself constantly.
What we’re seeing is a landscape of traces, imprints, memory and dissolution, where material dissolves in an image, and loose shadows seem to connect while materializing before our eyes.