Agnès Vitani

Agnès Vitani’s work, which hails from a pictorial tradition, establishes a symbiosis between reality and abstraction by following the principles of overflowing and contamination.
[…] The artist salvages and recycles the mnestic traces of her pictorial work by elaborating task traps (tattoos, the tensile grids of geometric abstraction, synapses). The fragments of paint that cover the floor are therefore fixed, later to be absorbed by the surface of the painting.
The shift from a plane surface to a three-dimensional object and vice versa is a frequent occurrence in her work, in which she recycles fragments of reality, furtive images of banality (a lost shoe lying in the road, a burst balloon in a field…), offering us combinatory pieces that seem to be frozen in mid-expansion and significance, in a state of latency.
Her installations Douces et refroidies (Sweet and chilled) and La Promenade ou pas de printemps pour Marnie (The Walk or No spring for Marnie), follow an apparently motley system based on accumulation, repetition and entropy.