Is there a link between the Erotic theory of Collioure’s bell-tower and a funnel ?
None, at first sight, but for MARC-ANDRÉ 2 FIGUERES,who is so sensible to the invisible links that rule beings, places or objects, it is still the same print, the same fantasy, the same story to be written again. From the work around prints, mysteriously revealing an androgynous absence sexualized by the artist through an artistic and literary phantasmagoria, this quest has lead him today, via the symbolism of eroticism, to the transcendence of the Sacred.
This theory finds its justification at the heart of Genesis.
To exist, the world has to differentiate : it is the primordial Adam, an incarnation of God, both male and female, who, divided into Adam and Eve, Man and Woman, through an erotic union, generated a multiple and dissociated humanity but also who will not find fulfillment unless he returns to the fundamental unity, that is to say the initial androgyny.
Become \“one\” is the aim of human life and androgyny, especially for Christians, for whom it is one of the characteristics of spiritual perfection.
So Christ, not male nor female but being both, as the perfect image of God in his totality, is often presented in the Christian mysticism like the transfigured Eros. Sexual union is the repetition of the primitive exogamy, the fusion of opposites that creates life. It is the expression of the quest for unity, the attempt to appease tensions, the self fulfillment, the fusion of souls with God.
Only the legendary hermaphrodite, a double creature, having the attributes of both sexes, doesn’t need any partner to give birth, since it sums the opposites, even alone.
For MA2F, the funnel, familiar object and hermaphroditic exception, symbolizes this access to the Sacred. It may be inserted in a square, which embodies the spirituality of Man in a determined space and time, the divine expression that leads to creation.
Funnels are a constant theme in the works of MA2F who shows a predilection for this object, not containing nor contained, always apart, unclassifiable and not compulsorily necessary.
But Ma2F’s funnel, with its eternal ’turned up nose’, and therefore not a priori useable, expresses the idea of a gathering within limits, a confuse effervescence of the soul, a materiality that cannot find any sense in itself but only out of itself, concentrating (on) the essential.
It is a passage, a medium, capturing imperceptible prints, which gives us a new vision. As a receptacle, the process is similar when we go through the door of a church, it cannot leave us cold and indifferent ; thanks to a mysterious alchemy, we are subtly transformed. The church-funnel, with its large basis, represents the place of transfiguration and metamorphosis which allow Man to forget its terrestrial condition, to pass its materiality and strive for the divine.
To symbolize through the funnels the place of passages and transformations, Ma2F has invented other ways of creation, using techniques in artistic works such as chemistry or electronics. Using beams, planks or girders to make massive -and even ostentatious- frames which remind reliquaries, MA2F tries to give back to paper its value as a plastic support and recreate the necessary setting for spirituality to be incarnated.
Funnels / From Eroticism to the Sacred is artistically based on three axis : a series of acrylic paintings on canvas or paper, representing funnels with insertions of oxidized metal, a series of metallic funnel-shape frames, of a large format, with illustrations on paper of the Erotical theory of Collioure’s Bell Tower, showing step by step the continuity of the works, and a series of square frames flanked by two doors presenting black and white photographs of funnels. The frames are topped with a bulb including a cross-shaped filament that becomes orange when lit. The light, supplied by a wire which goes through the frame, illustrates the spiritual energy, the internal illumination that leads to the Sacred.
MA2F’s great originality is to have discovered and be the only one in France and in Europe to work with Sun-Paint. This new process of photosensitive painting records solar prints with a progressive and reversible reaction to ultraviolet radiations. This pigment is of neutral color, invisible when applied and can be compared to a varnish, but it progressively becomes blue when exposed to sunlight, the shade varies accordingly to the intensity of the exposure. It returns to its initial color as soon as exposure ceases. The numbers depicted with Sun-Paint represent the invisible prints linked to the Divine light. The numerical combination that appear and disappear with sunlight are the genuine trace, the genetic code of the work.
Translated and adapted from Nicole Mari
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|Entonnoirs© “de l’érotisme au sacré”|