Statement

Artist Statement

‘Behind all seen things lies something vaster: everything is but a path, a portal or a window opening on something other than itself.’ Antoine de Saint-Exupéry

The understanding that things are not as they seem and that behind all revealed tangible forms lies something entirely different is very appealing. The idea too that linear time is a human construct and that in the spacetime dimension, past and future can be visited in the present with the knowledge of certain coordinates in space, is also very attractive. Reality becomes this idea of something a lot more fluid and encompassing, with vast potential.

It has led Frederique to examine objects and concepts from within and to unpick what defines them. It has also led her to adopt a more holistic approach to reality and to consider spatial and temporal dimensions. In her art practice, she seeks to delay recognition and engage the viewer in the process of looking and reflecting, with space and time in mind.

Her abstract geometric drawings are often reminiscent of non-verbal reasoning puzzles and may generate complex compositions not readily comprehensible, that prompts the viewer to engage in analytical reasoning, leading to the understanding of the idea studied in the work.

The grid is an important consideration in her drawings. The grid is the matrix that holds the potential of future work, but it is erased and becomes an element of the past, once the work is created. Yet the work still holds it in the present by following its footprint. Like the block universe described in Einstein’s theory of relativity, where slices of the block refer to different space-time coordinates, the two layers of the work encapsulate past and future in a fluid now, depending on which layer the viewer is observing from.

On a more literal level, the repeated patterns, emerging from the grid, take up a predictable amount of time in the making. As such, the ink on the surface of the paper becomes a transcript of duration where space and time are intimately interwoven.

Tertiary Chromatic Study monochrome work, executed in white ink, a reference to light. It investigates an alternative perception of colours, where each primary colour is associated with a basic geometric shape. Following the instructions in place, any given colour (i.e., secondary, tertiary, etc…) can be extrapolated to a singular sequence which can subsequently be identified in colour terms.

Her three-dimensional assemblages, mostly characterised by physical lightness and transparency, may suggest scribbles in space. They wrap around the air and create abstract forms with unclear boundaries that seek to raise the interest of the viewer.

There is no negative or positive space nor is there a definite inside or an outside. Transparency invites the viewer to peer through the form from all directions and examine the material. Frederique looks to create further perplexity by concealing and distorting the material or making it serve functions it was not designed for. The laborious simulations aim to encourage the viewer to observe and reflect on the limit of their perception, whilst trying to discern between semblance and reality. The viewer is also able to see the projected shadow of the outline through the form, where the photons that encountered the material did not reach the wall, leaving a trace of absence, a delayed negative of the matter.

Light is an important consideration in Frederique’s work and space is its vessel. From the sunlight that has taken eight minutes to reach us, to the starlight that expired thousands of years ago and which we can still see at night, light always describes events that have already happened. The space of our present holds the past. On a cosmic scale, this past can reach very far back and tomorrow still holds the same past. The notion of time exists through human consciousness giving it a beginning, a during and an end, and space contains all of it in a present that keeps moving forward.

The three-dimensional assemblages and their shadows are presented spreading on walls, spilling over a plinth, or suspended from the ceiling. The scale of the work is variable. However, in an attempt to draw the viewer close to the work, Frederique favours clusters of small elements displayed together, rather than one large scale item. This approach also applies to her drawings, which often are displayed in a grid form, introducing seemingly empty space in between elements.

The outcome of her processes often translates into unpredictable ethereal abstract systems or geometric representations, sometimes architectural, sometimes more organic that may suggest motion. Frederique doesn’t see this outcome as a final product but rather as an expression of her exploration, an open-ended enquiry on the study of various aspects of reality.