Pamiers. At Carmel, a “Wonderful Journey” that encourages reflection on eternity

Inaugurated this Thursday, September 15 at Carmel, the exhibition of contemporary artist Denis Darzacq takes us on a “Wonderful Journey”*.

Denis Darzacq, what is the central idea of ​​your exhibition?

I talk about my work, my energies. I’m at a time in my life where I think about eternity, about our future. It mixes and it’s an extraordinary opportunity to have the opportunity to express in this place, in four rooms, all these reflections that are emerging from my thoughts at the moment.

In this first room, four screens, four slideshows, what is it?

It is a large frieze that speaks of a youth. This is not a psychological portrait. It is the idea, as in the other exhibited works, of movements. Body movements, colors and youthful energy. On the four screens, develops a kind of melancholy of a past youth which is expressed in four slideshows on music created for the occasion. This music refers to this energy and to the abstraction of this lively energy in a perpetual movement that will be found in the other works. It is a work of abstraction but also on the human figure which attracts me a lot.

In the center of the small chapel, a suspension combining shapes, rhythms and colors catches the eye, what is its meaning?

It’s a sculpture that predates the exhibition, but is perfectly suited to this place. I learn that in this place and for 350 years, women have lived, taken a vow of silence, prayed, meditated and reflected on a spirituality which is the opposite of movement and life. However, as an artist, I want to talk about vital energy but with respect for this story. It is a sublimated aluminum sheet that folds back on itself in volutes that refer to the notion of infinity. Infinity for me is how many generations of nuns who have come to pray for 350 years with great humility. We cannot occupy these places without thinking of this reference.

What does the use of the double technique which consists in mixing the image with the abstraction mean?

It is a reflection on the photographic image. Nowadays, the image has more and more the duty to inform and I am thinking about how an image can not inform. I go to my own photos that I cut, take off and rework. From this work, I make new photos which by hybridization with the ceramics of the ceramic artist Anna Iris Lünemann become the works of today. There is a “media mix” side, hence the title “double mix”. They carry both the oldest human technique, ceramics, earth and digital photographic art sublimated on aluminum. A plastic paradox that moves me and finds in me an echo that challenges me, intrigues me and enriches me. As much as I go to young people where there is this vital energy that nourishes me, I like this perspective which allows me to work in the workshop and not always be confronted with others. It seems totally contradictory but in this exhibition there is a link that can be seen.