“Everything is flux in Marlène Mocquet’s work. Everything, in her paintings and sculptures, is connection of material and energy. Everything is excitement, fright, pleasure, preciosity, allegory, balance, imbalance, construction and deconstruction. All at once in a contradictory and discordant but also coherent work whose tensions are constantly controled . There are no more humans, animals or nature represented, only living matter. Oil and acrylic paint, waxes and lacquers, dirt, like an overflow of lava that would come from the depths of the artist’s body and soul. Brushes, fingers, all sorts of tools and objects are used to guide this overflow and to build enigmatic narrations full of vitality. These graphic fictions with intense dynamism find a heritage in a singular genealogy of artists such as Jean Dubuffet, Wangechi Mutu, or Dado. The paintings offer extreme contrasts between wide spaces in the canvas that are left raw and overflowing masses of matter. Recurring elements are convoked: birds, strawberries, apples, candles, hands, and especially faces with disproportionate eyes and wide-open mouths. Organs play a significant role in Mocquet’s narrations, particularly in her ceramic creatures she realized at the Manufacture Nationale of Sèvres, where she digged in the stomachs and left a whole gestating world. Painted or sculpted shapes extend like flames or gas and radiate because of its high temperature, and whose combustion generate colors and especially blues, reds, yellows. The exceeding vitality is like a lack of order echoing the excesses of the world.” Alain Berland undefined

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