(Louise Bourgeois, photographer unknown)
Louise Joséphine Bourgeois (25 December 1911 – 31 May 2010), o doamnă genială şi extrem de interesantă despre care am vrut să scriu şi să adun imagini şi informaţii (cam asta fac eu pe blogul meu, aici, în cutiuţa mea cu obsesii) de când am văzut prima imagine cu ea împreună cu una dintre bizarele ei creaţii. O autentică şi un adevărat personaj iar orice imagine cu ea, indiferent de fotograf, este o adevărată capodoperă, la fel ca, odinioară, orice imagine cu Edith Piaf.
In the 1940s, Louise Bourgeois began an investigation of the partial female nude in a series of paintings, all titled Femme Maison (House Woman), in which houses substitute for heads. These images became feminist icons and subsequently turned up in her sculpture. Later, Bourgeois’s marble works of the 1960s and 1970s were filled with forms resembling breasts, penises, and undulating landscapes, all simultaneously. “Our own body could be considered from a topographical point of view,” she said, “a land with mounds and valleys, and caves and holes.” Latex proved a supple material in which to cast such shapes, culminating in the notorious Fillette (Little Girl), an unmistakable penis, nearly two feet high, hung by a hook from the ceiling.
What modern art means is that you have to keep finding new ways to express yourself, to express the problems, that there are no settled ways, no fixed approach. This is a painful situation, and modern art is about this painful situation of having no absolutely definite way of expressing yourself. (Louise Bourgeois)
In the 1990s, Bourgeois filled architectural Cells with assemblages of objects, among them marble sculptures of body fragments. Finally, late in life, she created larger-than-life-size stuffed fabric heads, which seem to grimace from the pains of old age.
“My poetic license is to remove the arms, to remove the head, and then, if I want, to fetch them back.” (Louise Bourgeois)
Art is a guaranty of sanity. That is the most important thing I have said. (Louise Bourgeois)
(Louise Bourgeois, Untitled)
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At the dinner table when I was very little, I would hear people bickering… To escape the bickering, I started modelling the soft bread with my fingers. With the dough of the French bread, sometimes it was still warm. I would make little figures. And I would line them up on the table and this was really my first sculpture. (Louise Bourgeois)
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A work of art does not need an explanation. The work has to speak for itself. The work may be subject to many interpretations, but only one was in the mind of the artist. Some artists say to make the work readable for the public is an artist’s responsibility, but I don’t agree with that. The only responsibility to be absolutely truthful to the self. My work disturbs people and nobody wants to be disturbed They are not fully aware of the effect my work has on them, but they know it is disturbing. – Louise Bourgeois
”Art is restoration: the idea is to repair the damages that are inflicted in life, to make something that is fragmented – which is what fear and anxiety do to a person – into something whole.”
(c)Artwork: Louise Bourgeois