NOS CORPS ÉLECTRIQUES DANS LES CHAMPS MAGNÉTIQUES: MATHILDE ROSIER

Pavec is delighted to present Nos corps électriques dans les champs magnétiques, Mathilde Rosier's first solo exhibition at the gallery.

The exhibition takes the form of an immersive and sensitive installation. At the entrance, visitors are greeted by an enigmatic wall installation: a constellation of blown glass eyes, designed in collaboration with the CIRVA (Centre international de recherche sur le verre et les arts plastiques) in Marseille.

At the heart of the space, a large diptych dialogues with a series of acrylic paintings on upholstery fabrics, giving the whole an intimate, poetic dimension.

These works are part of a series initiated in recent years, inspired by the fields that the artist observes from the windows of her home-studio in Burgundy. Far from the idealised image of unspoilt nature, these landscapes bear the marks of ongoing agricultural activity, with electricity pylons rising up like silent figures. Witnesses to the tension between nature and infrastructure, they become these ‘electric bodies’ that, without being either denounced or glorified, inhabit the image as discreet signs of a world traversed by invisible forces.

In Mathilde Rosier's work, the ‘field’ is not limited to cultivated land: it becomes a metaphor for a sensitive space, both interior and exterior, in which human feelings are expressed. She explores this invisible in-between, this ‘field of communicative energy’, as a place of becoming in constant transformation.

Mathilde Rosier is a French artist born in 1973, whose work explores the relationship between nature, culture and perception. She lives and works in Burgundy, where her observations of agricultural landscapes fuel a multidisciplinary artistic practice combining painting, installation, video and sculpture.

In a dialogue with French philosopher Fabrice Midal, held to coincide with the exhibition Nos corps électriques dans les champs magnétiques, Mathilde Rosier talks about the origins of her work: an experience of dissolution in the Burgundian landscape, which became the basis for an artistic quest combining attention, spirituality and presence. Between interiority and the perception of the living, her work - imbued with rhythm, silence and Imaginal - invites us to reconsider the link between our bodies and the landscape, between emotion and a state of grace, between painting and the invisible.

Her work has recently been the subject of several major solo exhibitions, including Champ de visions at the Mucem, Marseille (2023), Les Champs de prospérité intensive at the Fondation Pernod Ricard, Paris (2023), Le Massacre du printemps at the Museo MADRE in Naples (2020), at the MASP in São Paulo (2020), and Figures of Climax of the Impersonal Empire at the Fondazione Guido Ludovico Luzzatto, Milan (2018).

Her works can be found in numerous public and private collections, including those of the Musée d'Art Moderne et Contemporain in Strasbourg, the Castello di Rivoli in Turin, the Museum Abteiberg in Mönchengladbach, the Museo MADRE in Naples, the Centre National des Arts Plastiques in Paris, the Kunsthalle in Hamburg, the Fonds d'Art Contemporain in Paris, the MUCEM in Marseille, the Julia Stosnitz in Paris, the Museo MADRE in Naples, the Kunsthalle in Hamburg and the Fonds d'Art Contemporain in Paris, the Fonds d'Art Contemporain de Paris, the MUCEM in Marseille, the Julia Stoschek Collection (Düsseldorf), the Center for Curatorial Studies in Bard (USA), the Nicoletta Fiorucci Foundation, the Fondazione Cassa di Risparmio di Cuneo, as well as corporate collections such as Deutsche Bank (Frankfurt and London) and the UBS Art Collection.