Expositions  personnelles 

 

2020  

–  Au temps des ecchymoses en fleurs : Espace Pierre de Grauw, Pont-Scorff 

 

2018 

–  Voyages célestes : Musée de l’archerie et du Valois (Art sacré), Crépy en Valois  

 

2015 

–  Autrement dit : Centre d’Art Lucien Prigent, Landivisiau  

 

2014

 

–  Le Parcours St Germain - 12 ème édition  

–  E(n)tre terre et ciel : Le Passage Sainte-Croix, Nantes (duo)  

  

2012  

–  PAPER ART // INTERACTION : CAMPREDON – Centre d’Art, l’Isle-sur-la-Sorgue (duo) 

  

2011  

–  Mères, filles et leurs aïeules : Galerie d’Art Municipale, Mourenx 

 

2009  

–  Et d’ineffables vents m’ont ailé par instants : Galerie Nathalie Béreau, Chinon 

 

2008 

–  Commande pour Van Cleef & Arpels : Paris, Tokyo, New York   

–  Sculpter l’air : 6, Mandel, Paris 

 

2007 

–  Du papier, du bois… : Saint-Pierre des Minimes, Compiègne (duo) – Réminiscences : Château de Laréole, Haute-Garonne 

 

2005  

–  Espaces poétiques : Abbaye d’Alspach-Kaysersberg 

 

2002 

–  Des ombres blanches : Centre multimedia Saint-Exupéry, Reims 

–  Galerie Teissèdre, Paris 

–  Totems et Ombres blanches : Luniverre Gallery, Paris 

 

2001

–            Matière : Galerie Commines, Paris

–            la Légèreté, la Ligne, le Trait : Centre d’Art Passerelle, Brest (trio) 

 

1999 

–  Musée-galerie de la SEITA, Paris 

–  Maison des Arts de Créteil : Festival international des films de femmes  

                                             Festival Exit 

 

1998  

–  Galerie Asaco, Vilanova i la Geltrù, Barcelone 

 

1989  

–  Pebbles in a Zen Garden : Powell Street Gallery, Melbourne 

 

1986

–  Nomads : Reconnaissance Gallery, Melbourne 

  

 

 

 

Maryline Pomian is a poet.  The title of his works attests to this: « Voyage celeste», « les Umbilicales » ;, «dormant».  His visual work is non-verbal writing – a vibrational writing.

Sculptures, relief paintings, in situ installations, whatever the forms and presentations of the works, there are constants: balance of voids and volumes, requirement for simplicity, ;fi ô how difficult to point out, importance of light which gives pride of place to the play of shadows, which allow the perception of a reality impalpable, intrinsic to the one we see: a reality ghost.

Pomian possesses the art of combining the intelligence of the hand and the acuity of the hand. through the gaze, uniting opposites, a gift that generates works that are as sensual and light as they are conceptual and rigorous.  Its minimalism is free from any coldness, the human is present there.  We feel it, we feel it, his work moves us, fragile and powerful.

Powerful because it is fragile.  The work manifests its presence, in silence, quite simply.  He never intrudes into the places that welcome him, although they are full of history, always. the imposing architecture: castles, abbeys, art centers, museums, or simply galleries.

Pomian’s art reflects the artist she is.  In a quest for self-effacement, she places herself entirely at the service of creation.  Likewise, the works put themselves at the service of the spaces they inhabit, imbue themselves with the spirit that emerges from them, make themselves their messengers.  Setting and content enhance each other.  A hierogamy operates.

In these universes that she creates based on old works and/or created for the occasion, linked together by an assertive narrative thread, the viewer is king.  The imperceptible is significant, the unrevealed. omnipresent, the works dialogue with each other and with the place, favorable conditions for visions and singular memories to emerge in the viewer, for stories to develop. ; Objective achieved and reward for the artist when the public's imagination is unleashed.

Among the poor materials she uses, and is careful not to distort (no cheating with her), paper cigarette is in his favor.  Degree zero of matter, infra-matter, it carries latency within itself the idea of its disappearance. In fact it becomes a metaphor for our finitude.  “The materials I use make my works memento mori” tells us the artist.  So much purity, solace, so much vulnerability. However, they do not convey any morbidity.  On the contrary, the emotion that grips us is only increased tenfold.

Time, which works on her and which she works like any other material, is in fact at the heart of her art.  Certainly, it creates for and in Space but in order to inscribe Time, eternal and evanescent, paradoxical, a 4th me subliminal dimension which allows an unspeakable to emerge – the mystery: key word in his work.  It rubs shoulders with the secret, the sacred, arouses wonder or sacred terror in the face of what escapes knowledge. understanding.

Face to face this dizzying immeasurability, human life seems very paltry, oh so fleeting, without much substance.  And we plunge into anguish, despair.  This is where that the work of Maryline Pomian becomes saving, opens a path for us.  Because she herself knows abysses, terrors and turbulence. These same ones that we share, which she transposed onto the artistic level.  By confronting oneself with worthless, insignificant materials, did she not succeed in find meaning in them? À transmute, like the alchemist, the ignoble into a noble thing, all the more precious and cherishable because it is ephemeral and perishable?   So it is with our life with its share of doubts and tremors.

Doubts, tremors – glare – that we find in Rothko, Giacometti and Brancusi, artists whom she obviously places at the pinnacle of her pantheon.

 

OlympiAnne Riam, March 2024