{"id":146,"date":"2023-09-12T21:00:27","date_gmt":"2023-09-12T19:00:27","guid":{"rendered":"https:\/\/marinewallon.fr\/?page_id=146"},"modified":"2026-03-17T09:48:55","modified_gmt":"2026-03-17T08:48:55","slug":"texte-semin-1","status":"publish","type":"page","link":"https:\/\/marinewallon.fr\/?page_id=146","title":{"rendered":"Text 2023, Didier Semin"},"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-146_abb8d2-e2 .kt-block-spacer{height:10px;}.wp-block-kadence-spacer.kt-block-spacer-146_abb8d2-e2 .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-146_abb8d2-e2\"><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>\u00b7 <a href=\"https:\/\/marinewallon.fr\/?page_id=1388\/#go19\">Estelle Marois<\/a><br><strong><strong><strong>\u2192<\/strong><\/strong> Didier Semin<\/strong><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><\/p>\n\n\n\n<p class=\"has-small-font-size\"><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=\"go18\"><\/h2>\n\n\n<style>.wp-block-kadence-spacer.kt-block-spacer-146_f59dfc-af .kt-block-spacer{height:14px;}.wp-block-kadence-spacer.kt-block-spacer-146_f59dfc-af .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-146_f59dfc-af\"><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\" id=\"mon-ancre\"><strong>Procr\u00e9ation du tableau<\/strong><br><br><code><strong>FRA<\/strong><code><code>\u2014<\/code>\u2014<\/code>\u2014<\/code> Paul Val\u00e9ry disait magnifiquement du po\u00e8me qu\u2019il \u00e9tait une \u00ab <em>h\u00e9sitation prolong\u00e9e entre le son et le sens<\/em> \u00bb<sup> 1<\/sup> : pour le formuler autrement (et moins bien), un \u00e9quilibre d\u00e9licat entre la musique des mots et le message qu\u2019ils transmettent, \u00e0 qui veut bien l\u2019entendre. Un tableau figuratif \u2014 si l\u2019on admet, pour filer la m\u00e9taphore, qu\u2019un tableau abstrait ne prend le parti que d\u2019une musique des formes \u2014 pourrait de m\u00eame \u00eatre vu comme un moment magique d\u2019\u00e9quilibre, entre l\u2019image identifiable du monde et la sensualit\u00e9 des gestes et des mati\u00e8res qui nous restituent ce dernier sur la simple surface d\u2019une toile ou d\u2019un panneau de bois. D\u2019une mauvaise peinture, on dit volontiers qu\u2019elle est une \u00ab cro\u00fbte \u00bb, parce que l\u2019apprentie ou l\u2019apprenti artiste a cru bon d\u2019accumuler la mati\u00e8re sur un support, de pr\u00e9f\u00e9rence au couteau (depuis le milieu du XIX<sup>e<\/sup> si\u00e8cle, un outil des peintres au m\u00eame titre que le pinceau), pour donner de la substance \u00e0 son \u0153uvre, crier na\u00efvement \u00ab peinture ! \u00bb \u00e0 l\u2019oreille du spectateur, comme l\u2019\u00e9crivain d\u00e9butant croit donner du corps \u00e0 ses textes en les truffant d\u2019adverbes et d\u2019adjectifs : mais l\u2019harmonie, subtile, dans la peinture, entre la mati\u00e8re qui repr\u00e9sente le r\u00e9el et le r\u00e9el repr\u00e9sent\u00e9, est affaire de funambule, pas de maquignon.&nbsp;<br> <br>Marine Wallon excelle \u00e0 maintenir ses plages de couleur, anim\u00e9es de subtiles variations par un pinceau expert, \u00e0 la fronti\u00e8re t\u00e9nue entre la forme s\u00e9duisante et l\u2019image qu\u2019elle devient quand on lui pr\u00eate attention, image qui \u00e9veille le souvenir des exp\u00e9riences v\u00e9cues dans la nature, et dans ces petits th\u00e9\u00e2tres de nos vies qu\u2019on appelle paysages. Il y a plus d\u2019un si\u00e8cle, le dramaturge su\u00e9dois August Strindberg, dont on oublie souvent qu\u2019il fut aussi un grand peintre, a d\u00e9crit avec pr\u00e9cision l\u2019\u00e9motion que nous ressentons, quand nous voyons sous nos yeux la mati\u00e8re se m\u00e9tamorphoser en image (en particulier dans les peintures qu\u2019il disait, en 1894, \u00ab modernistes \u00bb, et que nous dirions plus simplement \u00ab modernes \u00bb) : \u00ab D&rsquo;abord on n&rsquo;aper\u00e7oit qu\u2019un chaos de couleurs, puis cela prend un air, \u00e7a ressemble. Mais non, \u00e7a ne ressemble \u00e0 rien. Tout d\u2019un coup un point se fixe, comme le noyau d&rsquo;une cellule, cela s\u2019accro\u00eet, les couleurs se groupent autour, s\u2019accumulent : il se forme des rayons qui poussent des branches, des rameaux comme font les cristaux de glace aux fen\u00eatres\u2026 Et l\u2019image se pr\u00e9sente pour le spectateur qui a assist\u00e9 \u00e0 l\u2019acte de procr\u00e9ation du tableau. Et ce qui vaut mieux : la peinture est toujours nouvelle : change d\u2019apr\u00e8s la lumi\u00e8re, ne lasse jamais, se rajeunit, dou\u00e9e du don de la vie \u00bb <sup>2<\/sup>. Les toiles de Marine Wallon sont toutes des c\u00e9l\u00e9brations de ces sursauts de l\u2019\u0153il et de l\u2019esprit qui font le myst\u00e8re de l\u2019\u00e9motion esth\u00e9tique, cette \u00ab procr\u00e9ation du tableau \u00bb \u00e0 laquelle l\u2019artiste invite spectatrices et spectateurs. On comprend vite que leurs titres, un peu myst\u00e9rieux, (<em>Cordoama<\/em>, <em>Casl\u00e8<\/em>, <em>Acotango<\/em>\u2026), sont des noms de lieux, exotiques, qu\u2019elle a peut-\u00eatre explor\u00e9s, souvent des bords de mer sauvages, des fleuves, des canyons, des parois montagneuses. Les personnages qu\u2019on y reconna\u00eet quelquefois n\u2019ont pas la majest\u00e9 des promeneurs romantiques que Caspar David Friedrich pla\u00e7ait dans ses paysages, ils sont de notre temps, fix\u00e9s par la photographie, parfois m\u00eame, on le sent, par une photographie banale, ils nous donnent une \u00e9chelle.<br>&nbsp;<br>Mais la peinture, et celle de Marine Wallon aujourd\u2019hui de mani\u00e8re exemplaire, fait au paysage ce que la photographie ne r\u00e9ussit jamais : elle <em>l\u2019incarne<\/em> \u2014 peut-\u00eatre parce que les pigments viennent de la terre, et entretiennent avec les roches, les fleuves et m\u00eame les labours, qui sont de la peinture \u00e0 m\u00eame un sol qu\u2019on aurait amoureusement peign\u00e9 \u2014 une relation de cousinage que personne ne pourra jamais rompre, pas m\u00eame le plus intelligent des t\u00e9l\u00e9phones intelligents, f\u00fbt-il dot\u00e9 des meilleures optiques. La peinture n\u2019est jamais si belle que quand elle r\u00e9siste un peu \u00e0 l\u2019image, comme la pente du terrain r\u00e9siste au pas du promeneur\u2026&nbsp;<\/p>\n\n\n\n<p class=\"has-text-align-right has-small-font-size\" id=\"mon-ancre\">Didier Semin<br>Louze, Rives Dervoises, Novembre 2022<\/p>\n\n\n\n<h2 class=\"wp-block-heading\" style=\"font-size:12px\">________<br><sup>1<\/sup><code> <\/code>Paul Val\u00e9ry, <em>Rhumbs<\/em>, in <em>Tel Quel<\/em>, <em>\u0152uvres<\/em>, tome II, Paris, Gallimard, 1960, p. 637.<code><br><\/code><sup>2<\/sup><code> <\/code>August Strinberg, <em>Du hasard dans la production artistique<\/em>, Paris, L&rsquo;\u00c9choppe, 1990, p. 21 [1894 pour la premi\u00e8re publication en revue].<\/h2>\n\n\n<style>.wp-block-kadence-spacer.kt-block-spacer-146_372249-7d .kt-block-spacer{height:30px;}.wp-block-kadence-spacer.kt-block-spacer-146_372249-7d .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-146_372249-7d\"><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\"><strong><strong>Procreation of the painting<\/strong><\/strong><br><br><strong><code>ENG<\/code><\/strong><code><code><code>\u2014<\/code>\u2014<\/code>\u2014<\/code> Paul Val\u00e9ry described the poem magnificently as a&nbsp;<em>\u00ab\u00a0prolonged hesitation between sound and meaning\u00a0\u00bb<\/em>&nbsp;<sup>1<\/sup>: to formulate it differently (though not so well), a delicate balance between the music of words and the message they convey, to anyone wanting to hear it. If one agrees, in order to extend the metaphor, that an abstract painting only subscribes to the music of shapes, a figurative painting could likewise be seen as a magical moment of balance between an identifiable image of the world, and the sensuality of the gestures and matter that reconstitute it on the simple surface of canvas or a wooden panel. A bad painting is commonly referred to in French as a \u00ab\u00a0cro\u00fbte\u00a0\u00bb (literally a \u00ab\u00a0crust\u00a0\u00bb, or \u00ab\u00a0heap of slag\u00a0\u00bb), because the aspiring artist thought it would be a good idea to accumulate matter on a support, preferably with a knife (a tool used by painters since the mid-19<sup>th <\/sup>century, just like a brush) to give his or her work substance, to naively shout \u00ab\u00a0Painting!\u00a0\u00bb in the spectator&rsquo;s ear, just as budding writers believe they will give substance to their texts by cramming them with adverbs and adjectives. But in painting, subtle harmony between the material representing what is real and what is presented as real, is the work of a tightrope walker, not a grifter. <br><br>Marine Wallon excels in maintaining expanses of colour animated by subtle variations achieved by expert brushwork, on the tenuous border between an appealing shape and the image it becomes when one pays attention; an image which stirs the memory of experiences in nature, and those little theatres of our lives that we call landscapes. Over a century ago, the Swedish playwright August Strindberg, who we often forget was also a great painter, described with great precision the emotion we feel when we see matter transformed into images before our eyes (particularly in paintings he called \u00ab\u00a0modernist\u00a0\u00bb, in 1894, and that we would more simply refer to as \u00ab\u00a0modern\u00a0\u00bb): \u00ab\u00a0At first you see nothing but a chaos of colours; then it begins to look like something, it resembles &#8211; no, it does not look like anything. All of a sudden, a point detaches itself; like the nucleus of a cell, it grows, the colours are clustered, heaped around it; rays develop, shooting forth branches and twigs like ice crystals on window panes\u2026 And the picture reveals itself to the viewer, who has attended the birth of the painting. And what is more: the painting is always new, it changes with the light, never growing tired, springing to life anew, endowed with the gift of life\u00a0\u00bb.&nbsp;<sup>2<\/sup>&nbsp;Marine Wallon&rsquo;s canvasses are all celebrations of these jolts to the eye and mind that compose the mystery of esthetic emotion, this \u00ab\u00a0procreation of the painting\u00a0\u00bb which the artist invites spectators to see. We soon understand that their titles, rather mysterious (<em>Cordoama, Casl\u00e8, Acotango<\/em>&#8230;), are the names of exotic places that she has perhaps explored, often wild seafronts, rivers, canyons, mountainsides. The figures we sometimes recognize here do not have the majesty of romantic walkers placed by Caspar David Friedrich in his landscapes; they are of our era, fixed by photography, even occasionally, one feels, by a banal photo, to provide scale. <br><br>Though painting, and that of Marine Wallon today, in exemplary fashion, does for the landscape something that photography never achieves: it&nbsp;<em>embodies<\/em>&nbsp;it \u2014 maybe because pigments come from the soil, and maintain with rocks, rivers and even ploughed land, which are paintings on the very earth that has been lovingly combed \u2014, a cousin-like relationship that no-one could ever sever, not even the smartest of smartphones, even when endowed with the finest optics. Painting is never more beautiful than when it gently resists the image, rather like sloping land that resists the walker&rsquo;s steps&#8230;<br><\/p>\n\n\n\n<p class=\"has-text-align-right has-small-font-size\">Didier Semin<br>Louze, Rives Dervoises, November 2022<br>Translated from the French by Jill Harry<\/p>\n\n\n\n<h2 class=\"wp-block-heading has-text-align-left\" style=\"font-size:12px\">________<br><sup>1<\/sup><code> <\/code>Paul Val\u00e9ry, <em>Rhumbs<\/em>, in <em>Tel Que<\/em>l, <em><em>\u0152<\/em>uvres<\/em>, volume II, Paris, Gallimard, 1960, p. 637.<code><br><\/code><sup>2<\/sup><code> <\/code>August Strinberg, <em>Du hasard dans la production artistique<\/em>, Paris, L&rsquo;\u00c9choppe, 1990, p. 21 [1894 for the first publication in a review].<\/h2>\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\u00b7 Estelle Marois\u2192 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, Didier Semin - 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=146\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Text 2023, Didier Semin - 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\u00b7 Estelle Marois\u2192 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. 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