{"id":1388,"date":"2023-11-14T14:43:29","date_gmt":"2023-11-14T13:43:29","guid":{"rendered":"https:\/\/marinewallon.fr\/?page_id=1388"},"modified":"2026-03-17T09:58:53","modified_gmt":"2026-03-17T08:58:53","slug":"text-2023-estelle-marois","status":"publish","type":"page","link":"https:\/\/marinewallon.fr\/?page_id=1388","title":{"rendered":"Text 2023, Estelle Marois"},"content":{"rendered":"\n<h1 class=\"wp-block-heading\" style=\"font-size:28px\">Critical texts<\/h1>\n\n\n<style>.wp-block-kadence-spacer.kt-block-spacer-1388_fe3199-54 .kt-block-spacer{height:10px;}.wp-block-kadence-spacer.kt-block-spacer-1388_fe3199-54 .kt-divider{border-top-width:1px;height:1px;border-top-color:var(--global-palette1, #3182CE);width:80%;border-top-style:solid;}<\/style>\n<div class=\"wp-block-kadence-spacer aligncenter kt-block-spacer-1388_fe3199-54\"><div class=\"kt-block-spacer kt-block-spacer-halign-center\"><hr class=\"kt-divider\"\/><\/div><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-1 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:38%\">\n<p><code>2026<\/code><br>\u00b7 <a href=\"https:\/\/marinewallon.fr\/?page_id=2381\/#go23\">Paul Ardenne<\/a><br><br><code>2025<\/code><br>\u00b7 <a href=\"https:\/\/marinewallon.fr\/?page_id=2181\/#go21\">Thomas Delamarre<\/a><br><br><code>2024<\/code><br>\u00b7 <a href=\"https:\/\/marinewallon.fr\/?page_id=1768\/#go0\">Dominique Pa\u00efni<\/a><br>\u00b7 <a href=\"https:\/\/marinewallon.fr\/?page_id=1773\/#go1\">Elsa Hougue<\/a><br><br><code>2023<\/code><br><strong><strong><strong>\u2192<\/strong><\/strong> Estelle Marois<\/strong><br>\u00b7 <a href=\"https:\/\/marinewallon.fr\/?page_id=146\/#go18\">Didier Semin<\/a><br>\u00b7 <a data-type=\"page\" data-id=\"1643\" href=\"https:\/\/marinewallon.fr\/?page_id=1643\/#go20\">Marie Maertens<\/a><br>\u00b7 <a href=\"https:\/\/marinewallon.fr\/?page_id=197\/#go16\">Marie de Brugerolle &amp; Anne Dary<\/a><\/p>\n\n\n\n<p><code>2022<\/code><br>\u00b7 <a href=\"https:\/\/marinewallon.fr\/?page_id=187\/#go17\">Guy Boyer<\/a><br>\u00b7 <a href=\"https:\/\/marinewallon.fr\/?page_id=215\/#go15\">Benoit Blanchard &amp; Sarah Mercadante<\/a><br><br><code>2021<\/code><br>\u00b7 <a data-type=\"page\" data-id=\"230\" href=\"https:\/\/marinewallon.fr\/?page_id=230\/#go14\">Jo\u00ebl Riff<\/a><br>\u00b7 <a data-type=\"page\" data-id=\"232\" href=\"https:\/\/marinewallon.fr\/?page_id=232\/#go13\">Conversation<br><mark style=\"background-color:rgba(0, 0, 0, 0)\" class=\"has-inline-color has-theme-palette-1-color\">\u2014  <\/mark> Jennifer Douzenel \u2014 M. Wallon<\/a><br>\u00b7 <a data-type=\"page\" data-id=\"234\" href=\"https:\/\/marinewallon.fr\/?page_id=234\/#go12\">Horya Makhlouf<\/a><br><br><code>2020<\/code><br>\u00b7 <a data-type=\"page\" data-id=\"236\" href=\"https:\/\/marinewallon.fr\/?page_id=236\/#go11\">Lignes Br\u00e8ves<\/a><br><br><code>2019<\/code><br>\u00b7 <a data-type=\"page\" data-id=\"238\" href=\"https:\/\/marinewallon.fr\/?page_id=238\/#go10\">Jo\u00ebl Riff<\/a><br>\u00b7 <a data-type=\"page\" data-id=\"240\" href=\"https:\/\/marinewallon.fr\/?page_id=240\/#go9\">Entretien avec Karin Schlageter<\/a><br><br><code>2018&nbsp;<\/code><br>\u00b7 <a data-type=\"page\" data-id=\"242\" href=\"https:\/\/marinewallon.fr\/?page_id=242\/#go8\">Sarah Ilher-Meyer<\/a><br>\u00b7 <a data-type=\"page\" data-id=\"244\" href=\"https:\/\/marinewallon.fr\/?page_id=244\/#go7\">Entretien avec Point Contemporain<\/a><br><br><code>2017<\/code><br>\u00b7 <a data-type=\"page\" data-id=\"246\" href=\"https:\/\/marinewallon.fr\/?page_id=246\/#go6\">Anne Collongues<\/a><br>\u00b7 <a data-type=\"page\" data-id=\"248\" href=\"https:\/\/marinewallon.fr\/?page_id=248\/#go5\">Th\u00e9o-Mario Coppola<\/a><br><br><code>2015<\/code><br>\u00b7 <a data-type=\"page\" data-id=\"250\" href=\"https:\/\/marinewallon.fr\/?page_id=250\/#go4\">Marianne Derrien,<br><mark style=\"background-color:rgba(0, 0, 0, 0)\" class=\"has-inline-color has-theme-palette-1-color\">\u2014  <\/mark><em>Le mirage des images<\/em><\/a><br><br><code>2014<\/code><br>\u00b7 <a data-type=\"page\" data-id=\"252\" href=\"https:\/\/marinewallon.fr\/?page_id=252\/#go3\">Marion Delage de Luget,<br><mark style=\"background-color:rgba(0, 0, 0, 0)\" class=\"has-inline-color has-theme-palette-1-color\">\u2014  <\/mark><em>L&rsquo;horizontalit\u00e9 \u00e0 l\u2019\u0153uvre<\/em><\/a><br><br><code>2013&nbsp;<\/code><br>\u00b7 <a data-type=\"page\" data-id=\"254\" href=\"https:\/\/marinewallon.fr\/?page_id=254\/#go2\">Marianne Derrien,<br><mark style=\"background-color:rgba(0, 0, 0, 0)\" class=\"has-inline-color has-theme-palette-1-color\">\u2014  <\/mark><em>Saxifraga Umbrosa<\/em><\/a><br><br><code>2011<\/code><br>\u00b7 <a href=\"https:\/\/marinewallon.fr\/?page_id=256\/#go1b\">Anne Collongues<\/a><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:64%\">\n<h2 class=\"wp-block-heading\" id=\"go19\"><\/h2>\n\n\n<style>.wp-block-kadence-spacer.kt-block-spacer-1388_7b57a2-71 .kt-block-spacer{height:14px;}.wp-block-kadence-spacer.kt-block-spacer-1388_7b57a2-71 .kt-divider{border-top-width:1px;height:1px;border-top-color:var(--global-palette3, #1A202C);width:100%;border-top-style:solid;}<\/style>\n<div class=\"wp-block-kadence-spacer aligncenter kt-block-spacer-1388_7b57a2-71\"><div class=\"kt-block-spacer kt-block-spacer-halign-center\"><hr class=\"kt-divider\"\/><\/div><\/div>\n\n\n\n<p class=\"has-small-font-size\"><code><strong>FRA<\/strong><code><code>\u2014<\/code>\u2014<\/code>\u2014<\/code> <br>Le g\u00e9ographe Denis Cosgrove d\u00e9finit le paysage comme \u00ab\u2006le monde ext\u00e9rieur m\u00e9di\u00e9 par l\u2019exp\u00e9rience humaine subjective\u2006\u00bb. Genre pictural autonome \u00e0 partir du XVI<sup>e<\/sup> si\u00e8cle, majeur au XIX<sup>e<\/sup>, il ne se contente pas de refl\u00e9ter notre rapport au vivant\u2009\u2014\u2009il le pr\u00e9c\u00e8de et le structure, au point que d\u2019aucuns soulignent le lien entre une certaine esth\u00e9tique environnementale et l\u2019appauvrissement de notre sensibilit\u00e9 au vivant. \u00a0<\/p>\n\n\n\n<p>Malgr\u00e9 l\u2019histoire complexe de la tradition paysag\u00e8re, Marine Wallon choisit d\u2019y inscrire sa pratique, jusqu\u2019aux titres, toponymiques, de ses \u0153uvres et de l\u2019exposition. Sur la toile, les formes s\u2019identifient et se disposent comme plaines, crevasses, montagnes, falaises, mers, cieux. Enfin, des rep\u00e8res, p\u00f4les configurateurs de l\u2019espace pictural, nous accueillent\u2009\u2014\u2009tels la ferme ligne d\u2019horizon de <em>Gibara<\/em>, l\u2019un des deux grands formats de l\u2019exposition, ou, de toile en toile, une silhouette ou un objet familier. Ces derniers agissent discr\u00e8tement comme, par convention cartographique, une \u00e9chelle graphique d\u00e9finissant le rapport math\u00e9matique entre le terrain et la repr\u00e9sentation. Car ce n\u2019est pas par le sujet que Marine Wallon d\u00e9tourne le genre, ni m\u00eame par la composition. C\u2019est d\u2019abord par le traitement de la mati\u00e8re qu\u2019elle d\u00e9stabilise notre rapport au \u00ab\u2006paysage\u2006\u00bb.&nbsp;<\/p>\n\n\n\n<p>Contrastant avec des zones model\u00e9es, des aplats denses et couvrants mettent \u00e0 mal la perspective. Au lieu de d\u00e9ployer, depuis notre \u0153il, une profondeur de plans, ces formes semblent adh\u00e9rer \u00e0 la surface de la toile, leurs dimensions s\u2019identifiant \u00e0 celles du support bidimensionnel. La contraction du proche et du lointain m\u00e9tamorphose notre relation au paysage : nous n\u2019entrons plus dans le volume de l\u2019espace figur\u00e9, nous entamons un rapport frontal, un rapport de face \u00e0 face. Serpentines ou z\u00e9br\u00e9es, des diagonales, possibles fleuves, failles ou lacets, renforcent le redressement de l\u2019horizontal au vertical, comme des rampes soulignant l\u2019ascension et la descente.&nbsp;<\/p>\n\n\n\n<p>Difficile de maintenir la \u00ab\u2006bonne distance\u2006\u00bb propre \u00e0 la fl\u00e2nerie mus\u00e9ale, d\u00e8s lors que le regard lutte pour chercher un point o\u00f9 s\u2019enfoncer, qu\u2019il glisse dans toutes les directions. Le paysage fait \u00e9cran. Abolissant la distance, l\u2019aplatissement des formes nous ram\u00e8ne au fantasme d\u2019ubiquit\u00e9 dont nous investissons les images num\u00e9riques, \u00e0 l\u2019instar de celles dont Marine Wallon s\u2019inspire : des captures d\u2019\u00e9cran de vid\u00e9os de promotion touristique, en particulier celles qui invitent \u00e0 d\u00e9couvrir l\u2019\u00ab\u2006Ouest am\u00e9ricain\u2006\u00bb. L\u2019\u00e9cran-interface efface la distance mais aussi l\u2019objet : ainsi le massif de <em>Tasajera<\/em> se laisse transpercer par la l\u00e9g\u00e8ret\u00e9 a\u00e9rienne du ciel, comme si son \u00e9paisseur se diluait. <em>Matahambre<\/em> renverse un trope constitutif de l\u2019imaginaire pionnier, celui du cowboy qui s\u2019ab\u00eeme dans le ciel infini de l\u2019Ouest. La prairie ou le d\u00e9sert \u00e9taient per\u00e7us comme des espaces n\u00e9gatifs, vacants, \u00e0 conqu\u00e9rir ; mais sur la toile de Marine Wallon, par un d\u00e9placement de la silhouette, l\u2019humain bute contre un paysage-muret, imp\u00e9n\u00e9trable. &nbsp;<\/p>\n\n\n\n<p>Le paysage-\u00e9cran, qui se met debout et fait d\u00e9raper notre regard, c\u2019est aussi celui qui r\u00e9siste \u00e0 notre ambition d\u2019en forcer le sens. Il ne d\u00e9ment ni ne donne satisfaction\u2006: l\u2019aplatissement du paysage, c\u2019est une technique \u00e0 la Bartleby pour ne pas donner prise, pour ne pas se faire \u00ab\u2006aplatir\u2006\u00bb par l\u2019interpr\u00e9tation. Ainsi, nous pourrions nous demander quelle valeur d\u2019indice ont les toponymes, non forg\u00e9s, qui donnent leurs titres aux \u0153uvres\u2006: se r\u00e9f\u00e8rent-ils \u00e0 l\u2019espace r\u00e9el\u2006? Ou les mondes pictural et empirique sont-ils \u00e9tanches l\u2019un \u00e0 l\u2019autre\u2006? Sensible \u00e0 l\u2019exp\u00e9rience v\u00e9cue des lieux, Marine Wallon ne d\u00e9savoue ni les analogies de nomenclature, ni les correspondances visuelles. Pour autant, ce rapport de ressemblance n\u2019implique pas d\u2019identit\u00e9 de topographie. Ainsi, la localit\u00e9 de Tasajera se trouve bien \u00e0 Cuba, \u00eele qu\u2019a visit\u00e9e l\u2019artiste\u2006; les flancs abrupts du massif form\u00e9 sur la toile de <em>Tasajera<\/em>, la courbe de son sommet sont \u00e9vocateurs des reliefs cubains. Or la bande sup\u00e9rieure, bleue, \u00e9paisse et stri\u00e9e, fait peser un ciel flamand. Tout \u00e0 la fois vraisemblable et incertaine, la r\u00e9f\u00e9rence au r\u00e9el constitue donc une hypoth\u00e8se de lecture, un point de d\u00e9part, qui ouvre la compr\u00e9hension sur d\u2019autres possibles plut\u00f4t qu\u2019elle ne la cl\u00f4t sur une explication d\u00e9finitive. La g\u00e9ographie de Marine Wallon forme un pays composite, constitu\u00e9 par la superposition de r\u00e9alit\u00e9s disparates. &nbsp;<\/p>\n\n\n\n<p>Le mod\u00e8le de Marine Wallon, c\u2019est donc celui du feuilletage, du paysage vertical compos\u00e9 en colonne stratigraphique ; au sens propre, une liasse de couches s\u00e9dimentaires qui permet d\u2019\u00e9tirer une \u00e9chelle des temps g\u00e9ologiques \u00e9tablie sur les coupures entre les strates et leur regroupement en ensembles plus vastes. Chez Marine Wallon, les stries sont autant de strates qui se serrent en formations\u2006: parcelles d\u2019eau dans <em>Gibara<\/em>, <em>Kayabi<\/em> ou <em>Singen<\/em>, versants ruisselant vers le talweg d\u2019<em>Ica<\/em>, ou large bande sablonneuse dans <em>Han\u00f6<\/em>&#8230; La strate, \u00e9crivaient Gilles Deleuze et F\u00e9lix Guattari, est une \u00ab\u2006capture\u2006\u00bb qui consiste \u00ab\u2006\u00e0 former des mati\u00e8res, \u00e0 emprisonner des intensit\u00e9s ou \u00e0 fixer des singularit\u00e9s\u2006\u00bb\u2006; et la composition tabulaire des paysages de Marine Wallon saisit le temps dans la mati\u00e8re, le p\u00e9trifie pour donner \u00e0 voir simultan\u00e9ment les diff\u00e9rents moments qui le composent. Ce temps, c\u2019est celui du travail de l\u2019artiste, car les stries sont l\u2019inscription en creux de son geste\u2009\u2014\u2009technique rappelant, en creux l\u00e0 encore, celle de la gravure que Marine Wallon pratique \u00e0 l\u2019atelier de chalcographie du Louvre. Ses timescapes font rentrer, d\u2019un seul coup, dans le champ oculaire, l\u2019immensit\u00e9 spatiale et temporelle qui ne devrait y p\u00e9n\u00e9trer que par fractions, par mouvements successifs de l&rsquo;\u0153il. &nbsp;<\/p>\n\n\n\n<p>Cette p\u00e9trification ne signe pas l\u2019arr\u00eat du mouvement. La tension entre la profondeur de l\u2019illusion picturale et l\u2019unit\u00e9 de surface des aplats cr\u00e9e un jeu optique de pouss\u00e9e et de traction. Les relations entre les formes sont mobiles et changeantes, anim\u00e9es par un mouvement souterrain, tectonique. Comme une carte g\u00e9ologique dont les discordances signalent, \u00e0 la surface de la cro\u00fbte terrestre, les ruptures et perturbations \u00e0 l\u2019\u0153uvre en profondeur, <em>Osandon<\/em> donne \u00e0 voir les entrechocs, compressions et contractions de la mati\u00e8re, mais aussi \u00e0 imaginer le myst\u00e8re des forces invisibles qui l\u2019habitent. Se d\u00e9voile ainsi un autre feuilletage, celui de la profondeur de la toile\u2009\u2014\u2009non celle du paysage figur\u00e9, mais celle de la mati\u00e8re. Captives, stratifi\u00e9es, mais palpitantes, des lueurs jaunes, fuchsias, \u00e9meraudes, blanches se lovent dans les cannelures creus\u00e9es par la brosse, scintillent sur une masse vert sapin, transpercent les \u00e9paisseurs du relief, tremblent en lisi\u00e8re des formes. Les failles, enfin, ne sont pas celles du monde passif que l\u2019\u0153il perspectiviste entr\u2019ouvre. Leur teneur, \u00e9clatante (<em>Ica<\/em>) ou t\u00e9n\u00e9breuse (<em>Tecopa<\/em>), est l\u2019indice de la vie sismique de la peinture. Vie qui peut d\u00e9border le paysage ossifi\u00e9 si nous nous laissons renverser par les \u0153uvres qui nous font face : par les bouillons du ciel dans <em>Ica<\/em> et <em>Tasajera<\/em>, par la d\u00e9gringolade d\u2019un animal que l&rsquo;\u00e9clat d&rsquo;un \u0153il fait imaginer et qui vient briser le d\u00e9coupage quasi cadastral d\u2019<em>Osandon<\/em>, par l\u2019accident que le geste de l\u2019artiste invite dans ses compositions. Volatiles et impr\u00e9visibles, les toiles de Marine Wallon jouent avec notre point de vue, dont elles r\u00e9v\u00e8lent par ricochet la mobilit\u00e9, la multiplicit\u00e9, et les contradictions.&nbsp;<\/p>\n\n\n\n<p class=\"has-text-align-right has-small-font-size\">Estelle Marois<em> est une commissaire d&rsquo;exposition qui travaille entre Paris et Londres. Son int\u00e9r\u00eat pour l&rsquo;art contemporain rejoint sa formation en litt\u00e9rature, en psychanalyse et en histoire des sciences.<\/em><\/p>\n\n\n<style>.wp-block-kadence-spacer.kt-block-spacer-1388_df05ff-ad .kt-block-spacer{height:30px;}.wp-block-kadence-spacer.kt-block-spacer-1388_df05ff-ad .kt-divider{border-top-width:1px;height:1px;border-top-color:var(--global-palette1, #3182CE);width:80%;border-top-style:solid;}<\/style>\n<div class=\"wp-block-kadence-spacer aligncenter kt-block-spacer-1388_df05ff-ad\"><div class=\"kt-block-spacer kt-block-spacer-halign-center\"><hr class=\"kt-divider\"\/><\/div><\/div>\n\n\n\n<p><code><strong>ENG<\/strong><code><code>\u2014<\/code>\u2014<\/code>\u2014<\/code> <br>Geographer Denis Cosgrove defines landscape as \u2018the external world mediated through subjective human experience\u2019. As a genre, landscape painting originated in the 16<sup>th<\/sup> century and gained prominence in the 19<sup>th <\/sup>century\u2009\u2014\u2009not only reflecting, but also preceding and shaping our perception of the living world. Exploring the bonds between art and ecology, a number of critics have noted how environmental aesthetics align with the impoverishment of our sensitivity to the world.<\/p>\n\n\n\n<p>Despite this complex historical backdrop, Marine Wallon has chosen to work within the landscape painting genre, evident in her choice of toponymic titles for her works and exhibition. On her canvases, various forms can be identified as plains, crevices, mountains, cliffs, seas, and skies. Discreet landmarks structure the painting\u2019s spatial layout, such as the steady horizon line in <em>Gibara<\/em>, one of the exhibition&rsquo;s large-scale paintings, or recurring silhouettes and familiar objects. These elements work as linear scales defining the mathematical correlation between the terrain and its representation, in line with cartographic conventions. Indeed, Marine Wallon&rsquo;s deviation from the traditional understanding of &lsquo;landscape&rsquo; is not primarily manifested through subject matter or compositional choices, but first and foremost through her approach to the medium.<\/p>\n\n\n\n<p>In contrast to the textured areas, the densely applied<br>flat tints subvert the principles of perspective. Instead of creating an illusion of depth unfolding from the viewer\u2019s eye, these forms appear to be adherent to the canvas surface, aligning their dimensions with the two-dimensional support. The contraction of proximity and distance reconfigures the way we engage with the landscape. We no longer enter the volume of the space depicted; we are instead ushered into a frontal, face-to-face relationship. The inclusion of sinuous or zebra-like diagonals\u2009\u2014\u2009possibly rivers, rifts, or hairpin turns\u2009\u2014\u2009accentuates the twist from the horizontal to the vertical, akin to ramps highlighting upward and downward movement.<\/p>\n\n\n\n<p>Maintaining the appropriate viewing distance, as for the typical museum stroll, becomes a challenge when one&rsquo;s gaze struggles to find a focal point and slides in all directions. The landscape works as a screen. Erasing the distance, the flattening of forms conjures associations with the fantasy of ubiquity that characterises the digital era. Significantly, Marine Wallon draws inspiration from screenshots of tourist promotional videos, notably those beckoning exploration of the \u2018American West\u2019. Beyond abolishing distance, the screen-interface thins the depicted object. The Tasajera massif, for instance, appears to be pierced by the ethereal light of the sky, as if its thickness were diluted. <em>Matahambre<\/em> overturns the cinematic trope of a cowboy sinking into the boundless Western sky. In the pioneer imagination, prairies and deserts were perceived as negative, vacant spaces to be conquered; however, within Marine Wallon&rsquo;s painting, by the repositioning of the silhouette, the human stumbles against an enigmatic, impenetrable landscape.<\/p>\n\n\n\n<p>This screen-like landscape, standing erect, leads our gaze astray, resisting our efforts to impose a single, definitive understanding. It neither denies nor satisfies; the flattening of the landscape is a Bartleby-like technique of noncompliance, a refusal to be \u2018flattened\u2019 by interpretation. Hence, one might question the significance of the unaltered toponyms used as titles for the works: do they refer to real-world locations, or do pictorial and empirical spaces remain mutually inaccessible? While Marine Wallon is mindful of the lived experiences of places, her affinity for nomenclatural analogies and visual resemblances does not necessarily entail an identity of topography. For instance, the town of <em>Tasajera<\/em> does exist in Cuba, an island that the artist visited. The steep slopes of the massif and the curve of its summit are evocative of Cuban relief. Yet, the upper, thick, and streaked blue band is reminiscent of a Flemish sky. The reference to real-world locations is plausible yet uncertain, serving as a reading hypothesis, as a point of departure that opens up other interpretations instead of providing a definitive explanation. Marine Wallon&rsquo;s geography constructs a composite realm, comprised of overlapping and disparate realities.<br><br>Marine Wallon&rsquo;s model is, therefore, one of layering, resulting in a vertical landscape composed as a stratigraphic column; in other words, as a collection of sedimentary layers, whose cuts and larger groupings establish a geological time scale. In Marine Wallon&rsquo;s work, these striations function akin to strata, coalescing to create formations, such as patches of water in <em>Gibara<\/em>, <em>Kayabi<\/em>, or <em>Singen<\/em>, slopes flowing into the Ica talweg, or expansive sandy stretches in <em>Han\u00f6<\/em>. The stratum, as elucidated by Gilles Deleuze and F\u00e9lix Guattari, embodies an act of \u2018capture\u2019, consisting \u2018of giving form to matters, of imprisoning intensities or locking singularities\u2019. The tabular composition in Marine Wallon&rsquo;s landscapes encapsulates time within matter, crystallising the various moments it is made of as to show them simultaneously. Time here is that of the artist\u2019s work, for the striations are the hollowed-out inscription of her gesture, reminiscent of the techniques employed in engraving, a a discipline the artist practices in the chalcography workshop at the Louvre. Her timescapes encompass an immensity of spatial and temporal dimensions, a feat typically achieved only through successive eye movements.<\/p>\n\n\n\n<p>Nonetheless, petrification does not signify the cessation of motion. The interplay between the illusion of depth and the unity of flat surfaces creates an optical dynamic of push and pull. The relationships among the forms are fluid and evolving, animated by subterranean, tectonic movements. Much like a geological map showing the surface discordances that mirror deep-seated ruptures and disturbances in the Earth&rsquo;s crust, <em>Osandon <\/em>unravels the tremors, compressions, and contractions<br>of matter, allowing us to contemplate the enigmatic and invisible forces that inhabit it. Thus, another layered structure becomes apparent, one that pertains to the depth of the canvas, not in terms of the depicted landscape, but of the material itself. Radiant hues of yellow, fuchsia, emerald, and white coil within the furrows carved by the brush, shimmer across a fir-green substrate, burst through the thickness of a mountain, and shiver at the contours of the forms. These crevasses are not those that the perspectival eye cracks open within a passive scenery; instead, they manifest the seismic vitality of the painting, a vitality that may overflow the ossified landscape if we allow ourselves to be bowled over by the artworks that stand before us; whether by the effervescent sky in <em>Ica<\/em> and <em>Tasajera<\/em>, by the tumbling of an animal\u2009\u2014\u2009suggested by the sparkle of an eye\u2009\u2014\u2009disrupting <em>Osandon<\/em>&lsquo;s nearly cadastral segmentation, or by the accidents invited by the artist&rsquo;s gesture within her compositions. Marine Wallon&rsquo;s works, volatile and unpredictable, engage with our vantage point, revealing its mobility, multiplicity, and contradictions.<\/p>\n\n\n\n<p class=\"has-text-align-right\">Estelle Marois<em> is a curator who works in both Paris and London. Her engagement in contemporary art intersects with her background in literature, psychoanalysis and the history of science.<\/em><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Critical texts 2026\u00b7 Paul Ardenne 2025\u00b7 Thomas Delamarre 2024\u00b7 Dominique Pa\u00efni\u00b7 Elsa Hougue 2023\u2192 Estelle Marois\u00b7 Didier Semin\u00b7 Marie Maertens\u00b7 Marie de Brugerolle &amp; Anne Dary 2022\u00b7 Guy Boyer\u00b7 Benoit Blanchard &amp; Sarah Mercadante 2021\u00b7 Jo\u00ebl Riff\u00b7 Conversation\u2014 Jennifer Douzenel \u2014 M. Wallon\u00b7 Horya Makhlouf 2020\u00b7 Lignes Br\u00e8ves 2019\u00b7 Jo\u00ebl Riff\u00b7 Entretien avec Karin Schlageter&#8230;<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"footnotes":""},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Text 2023, Estelle Marois - MARINE WALLON<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/marinewallon.fr\/?page_id=1388\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Text 2023, Estelle Marois - MARINE WALLON\" \/>\n<meta property=\"og:description\" content=\"Critical texts 2026\u00b7 Paul Ardenne 2025\u00b7 Thomas Delamarre 2024\u00b7 Dominique Pa\u00efni\u00b7 Elsa Hougue 2023\u2192 Estelle Marois\u00b7 Didier Semin\u00b7 Marie Maertens\u00b7 Marie de Brugerolle &amp; Anne Dary 2022\u00b7 Guy Boyer\u00b7 Benoit Blanchard &amp; Sarah Mercadante 2021\u00b7 Jo\u00ebl Riff\u00b7 Conversation\u2014 Jennifer Douzenel \u2014 M. Wallon\u00b7 Horya Makhlouf 2020\u00b7 Lignes Br\u00e8ves 2019\u00b7 Jo\u00ebl Riff\u00b7 Entretien avec Karin Schlageter...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/marinewallon.fr\/?page_id=1388\" \/>\n<meta property=\"og:site_name\" content=\"MARINE WALLON\" \/>\n<meta property=\"article:modified_time\" content=\"2026-03-17T08:58:53+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Dur\u00e9e de lecture estim\u00e9e\" \/>\n\t<meta name=\"twitter:data1\" content=\"13 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/marinewallon.fr\/?page_id=1388\",\"url\":\"https:\/\/marinewallon.fr\/?page_id=1388\",\"name\":\"Text 2023, Estelle Marois - MARINE WALLON\",\"isPartOf\":{\"@id\":\"https:\/\/marinewallon.fr\/#website\"},\"datePublished\":\"2023-11-14T13:43:29+00:00\",\"dateModified\":\"2026-03-17T08:58:53+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/marinewallon.fr\/?page_id=1388#breadcrumb\"},\"inLanguage\":\"fr-FR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/marinewallon.fr\/?page_id=1388\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/marinewallon.fr\/?page_id=1388#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Accueil\",\"item\":\"https:\/\/marinewallon.fr\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Text 2023, Estelle Marois\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/marinewallon.fr\/#website\",\"url\":\"https:\/\/marinewallon.fr\/\",\"name\":\"MARINE WALLON\",\"description\":\"\",\"alternateName\":\"marinewallon\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/marinewallon.fr\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"fr-FR\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Text 2023, Estelle Marois - MARINE WALLON","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/marinewallon.fr\/?page_id=1388","og_locale":"fr_FR","og_type":"article","og_title":"Text 2023, Estelle Marois - MARINE WALLON","og_description":"Critical texts 2026\u00b7 Paul Ardenne 2025\u00b7 Thomas Delamarre 2024\u00b7 Dominique Pa\u00efni\u00b7 Elsa Hougue 2023\u2192 Estelle Marois\u00b7 Didier Semin\u00b7 Marie Maertens\u00b7 Marie de Brugerolle &amp; Anne Dary 2022\u00b7 Guy Boyer\u00b7 Benoit Blanchard &amp; Sarah Mercadante 2021\u00b7 Jo\u00ebl Riff\u00b7 Conversation\u2014 Jennifer Douzenel \u2014 M. Wallon\u00b7 Horya Makhlouf 2020\u00b7 Lignes Br\u00e8ves 2019\u00b7 Jo\u00ebl Riff\u00b7 Entretien avec Karin Schlageter...","og_url":"https:\/\/marinewallon.fr\/?page_id=1388","og_site_name":"MARINE WALLON","article_modified_time":"2026-03-17T08:58:53+00:00","twitter_card":"summary_large_image","twitter_misc":{"Dur\u00e9e de lecture estim\u00e9e":"13 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/marinewallon.fr\/?page_id=1388","url":"https:\/\/marinewallon.fr\/?page_id=1388","name":"Text 2023, Estelle Marois - MARINE WALLON","isPartOf":{"@id":"https:\/\/marinewallon.fr\/#website"},"datePublished":"2023-11-14T13:43:29+00:00","dateModified":"2026-03-17T08:58:53+00:00","breadcrumb":{"@id":"https:\/\/marinewallon.fr\/?page_id=1388#breadcrumb"},"inLanguage":"fr-FR","potentialAction":[{"@type":"ReadAction","target":["https:\/\/marinewallon.fr\/?page_id=1388"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/marinewallon.fr\/?page_id=1388#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Accueil","item":"https:\/\/marinewallon.fr\/"},{"@type":"ListItem","position":2,"name":"Text 2023, Estelle Marois"}]},{"@type":"WebSite","@id":"https:\/\/marinewallon.fr\/#website","url":"https:\/\/marinewallon.fr\/","name":"MARINE WALLON","description":"","alternateName":"marinewallon","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/marinewallon.fr\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"fr-FR"}]}},"_links":{"self":[{"href":"https:\/\/marinewallon.fr\/index.php?rest_route=\/wp\/v2\/pages\/1388"}],"collection":[{"href":"https:\/\/marinewallon.fr\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/marinewallon.fr\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/marinewallon.fr\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/marinewallon.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1388"}],"version-history":[{"count":21,"href":"https:\/\/marinewallon.fr\/index.php?rest_route=\/wp\/v2\/pages\/1388\/revisions"}],"predecessor-version":[{"id":2417,"href":"https:\/\/marinewallon.fr\/index.php?rest_route=\/wp\/v2\/pages\/1388\/revisions\/2417"}],"wp:attachment":[{"href":"https:\/\/marinewallon.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1388"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}