{"id":242,"date":"2023-09-12T23:17:30","date_gmt":"2023-09-12T21:17:30","guid":{"rendered":"https:\/\/marinewallon.fr\/?page_id=242"},"modified":"2026-03-17T09:54:43","modified_gmt":"2026-03-17T08:54:43","slug":"text-2018-sarah-ilher-meyer","status":"publish","type":"page","link":"https:\/\/marinewallon.fr\/?page_id=242","title":{"rendered":"Text 2018, Sarah Ilher-Meyer"},"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-242_6acd05-51 .kt-block-spacer{height:10px;}.wp-block-kadence-spacer.kt-block-spacer-242_6acd05-51 .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-242_6acd05-51\"><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>\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><br><br><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\u00a0<\/code><br><strong><strong><strong><strong><strong>\u2192<\/strong><\/strong> <\/strong><\/strong>Sarah Ilher-Meyer<\/strong><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\u00a0<\/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=\"go8\"><\/h2>\n\n\n<style>.wp-block-kadence-spacer.kt-block-spacer-242_0e68f6-ab .kt-block-spacer{height:14px;}.wp-block-kadence-spacer.kt-block-spacer-242_0e68f6-ab .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-242_0e68f6-ab\"><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>FRA<code>\u2014\u2014<\/code>\u2014<\/code> <br><strong>Habiter les images<\/strong>&nbsp;<br>L\u2019\u0153il innocent n\u2019existe pas. Il s\u2019agit d\u2019un mythe, aujourd\u2019hui r\u00e9voqu\u00e9 par une approche constructiviste du regard, toujours d\u00e9j\u00e0 inform\u00e9 par des prototypes visuels et des sch\u00e9mas mentaux culturellement transmis. De m\u00eame, l\u2019id\u00e9e d\u2019une exp\u00e9rience \u00ab pure \u00bb, \u00ab imm\u00e9diate \u00bb, a d\u00e9sormais c\u00e9d\u00e9 la place \u00e0 celle d\u2019une exp\u00e9rience toujours m\u00eal\u00e9e de repr\u00e9sentations. C\u2019est \u00e0 partir de ce<em> topos <\/em>que Marine Wallon \u00e9labore son travail. Le paysage est son principal motif, en particulier ceux des grands espaces am\u00e9ricains, soumis \u00e0 un r\u00e9gime de visibilit\u00e9 accru depuis l\u2019origine de la photographie et du cin\u00e9ma. Aussi, loin de les peindre sur le vif, l\u2019artiste les restitue d\u2019apr\u00e8s des images extraites de films anonymes, produits par des particuliers, des agences de voyage ou encore des offices de tourisme. Autant de montagnes, de for\u00eats et de d\u00e9serts dont elle dissout les contours par de larges coups de pinceaux et dont elle sch\u00e9matise les reliefs dans des formes simples et vigoureuses. Tout se passe ici comme si la peinture d\u00e9faisait les images dont elle s\u2019inspire, en troublait la lisibilit\u00e9 par des effets de texture et de mati\u00e8re pour donner \u00e0 sentir les forces telluriques de leurs r\u00e9f\u00e9rents. N\u00e9anmoins, appartenant \u00e0 une g\u00e9n\u00e9ration pour laquelle les images ne constituent plus un redoublement du r\u00e9el, mais le milieu dans lequel baigne tout individu, l\u2019enjeu n\u2019est pas pour l\u2019artiste de vider ses toiles des clich\u00e9s qui leur pr\u00e9existent, afin de renouer avec ce qui serait une exp\u00e9rience \u00ab authentique \u00bb de la nature, mais au contraire d\u2019\u00e9prouver celle-ci avec et \u00e0 travers les repr\u00e9sentations qui peuplent notre imaginaire.<br>&nbsp;<br><strong>Intranquillit\u00e9<\/strong><br>Images d\u2019images de paysages, les peintures de Marine Wallon n\u2019en perturbent pas moins nos rep\u00e8res habituels. En effet, quoique circonscrits \u00e0 la surface des toiles, en recouvrant leur quasi-int\u00e9gralit\u00e9, les \u00e9l\u00e9ments naturels qui les composent forment des sortes de plans aux coordonn\u00e9es spatiales ambigu\u00ebs, donnant une impression d\u2019ampleur et sugg\u00e9rant un espace infini. Une sensation d\u2019\u00e9garement et d\u2019immersion les accompagne, peut-\u00eatre \u00e9galement partag\u00e9e par les personnages que l\u2019artiste repr\u00e9sente souvent sur le premier plan de ses toiles. Seuls ou en groupes, vus de dos ou en profil perdu, leurs traits sont seulement esquiss\u00e9s, de telle sorte que notre regard glisse sur eux pour circuler et se perdre dans l\u2019immensit\u00e9 des paysages auxquels ils font face. \u00c0 rebours de toute emprise sur la nature, ces individus paraissent au contraire d\u00e9bord\u00e9s par celle-ci, indiff\u00e9rente \u00e0 leur pr\u00e9sence et comme mue par la pression incessante de ses forces. Ainsi, bien que les paysages de l\u2019artiste semblent de prime abord idylliques et emprunts de s\u00e9r\u00e9nit\u00e9, une certaine tension et inqui\u00e9tude les habitent en r\u00e9alit\u00e9, en partie li\u00e9es au mouvement incessant d\u2019un monde qui \u00e9chappe. Aussi n\u2019est-ce pas un hasard si de nombreuses toiles ont pour titres des noms d\u2019anciens territoires am\u00e9rindiens, comme si la volont\u00e9 occidentale de ma\u00eetrise de la nature ne parvenait pas int\u00e9gralement \u00e0 en dompter les puissances anciennement craintes et c\u00e9l\u00e9br\u00e9es. D\u2019une certaine mani\u00e8re, plut\u00f4t que de paysage, construction humaine par excellence, il s\u2019agit peut-\u00eatre ici davantage de g\u00e9ologie, participant d\u2019une logique de d\u00e9centrement du regard. Un regard intranquille, convoquant non pas la ma\u00eetrise du visible mais au contraire son surgissement insaisissable.&nbsp;<\/p>\n\n\n\n<p class=\"has-text-align-right has-small-font-size\">Sarah Ilher-Meyer, 2018<br><\/p>\n\n\n\n<p class=\"has-small-font-size\"><code>ENG<code>\u2014\u2014<\/code>\u2014<\/code> <br><strong>Inhabit the image<\/strong>&nbsp;<br>The innocent eye does not exist. It is a myth, revoked today by a constructivist approach to seeing, always informed by visual prototypes and culturally transmitted mental schemas. At the same time, the idea of a \u201cpure,\u201d \u201cimmediate\u201d experience has now been replaced by an experience always mixed with representations. It is from this topos that Marine Wallon elaborates her work. Landscapes are her main subject, particularly those of open American spaces, subject to a regime of increased visibility since early photography and cinema. Far from painting on the spot, the artist renders her landscapes from images extracted from unknown films made by individuals, travel agencies or even tourist offices. Mountains, forests and deserts whose contours she dissolves with large brush strokes and whose reliefs are schematized in simple and vigorous forms. Everything happening here is as if painting undid the images that inspire her, disturbing their legibility through textural and material effects to give the feeling of telluric forces and their referents. However, belonging to a generation for which the image no longer constitutes a repetition of reality but rather the environment in which each individual bathes, the challenge for the artist is not to empty her paintings of pre-existing clich\u00e9s in order to reconnect with what would be an \u201cauthentic\u201d experience of nature, but rather to experience it with and through the representations that populate our imagination. &nbsp;<\/p>\n\n\n\n<p class=\"has-small-font-size\"><strong>Intranquility<\/strong>&nbsp;<br>Images of images of landscapes, Marine Wallon\u2019s paintings disturb our usual landmarks. Indeed, all that is confined on the canvas surface, covering it almost entirely, and the natural elements that compose them form planes with ambiguous spatial coordinates, giving the impression of depth and suggesting infinite space. A sensation of bewilderment and immersion accompany her landscapes, perhaps also shared by the figures that the artist often presents in the foreground of her canvases. Alone or in groups, seen from behind or in a perturbed profile, their features are only sketched, in such a way that our gaze glides over them to circulate and get lost in the vastness of the landscapes that they face. Against any hold on nature, these individuals seem on the contrary overwhelmed by a nature indifferent to their presence and moved by the incessant pressure of its forces. Thus, although the artist\u2019s landscapes seem at first sight idyllic and borrowed from serenity, a certain tension and anxiety actually inhabit them, partly related to the perpetual motion of a world that escapes us. It is therefore not a coincidence that many paintings are named after ancient Indian territories, as if the Western desire to control nature could not fully tame the powers formerly feared and celebrated. In a certain way, rather than landscape\u2013 human construction par excellence\u2013 it is perhaps more so geology participating in a logic of shifting the gaze. An intranquil look, summoning not the mastering of the visible but rather its intangible occurrence. &nbsp;<\/p>\n\n\n\n<p class=\"has-text-align-right has-small-font-size\">Sarah Ilher-Meyer, 2018<br>Translated from the French by Katia Porro&nbsp;<\/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\u00b7 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 2018, Sarah Ilher-Meyer - 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=242\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Text 2018, Sarah Ilher-Meyer - 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\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. 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