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 » From duality to unity  »
by Brigitte Camus – Author –

During her Art History studies, Annie Tremsal Garillon discovers the book « Vide et plein » by François Cheng – author and philosopher – who shared his life between France and China. It impacted directly the artist’s choices and 25 years later it still remains. Straightaway the duality contrasts with everything, appears to her as paradoxical to be in the depths of herself. Her passion for philosophy, poetry, music, journeys consolidate her in an apprehension of other cultures, without bias, without splits, far from any exoticism, in a ceaseless quest. So much so that it is one of the rare current, alive French artists, to have a Chinese agent who shows her works in galleries and so much so that she is followed by collectors in Asia. She meets in China the great calligraphers who introduced her to the fact that no school ever learns ontology of spirituality, importance of  progress rather than objectives. We experience it only by looking at her paintings printed by spirituality, by perusal and especially by following the process of creation. Rooted between sky and earth, with a studio in heart of the Vosge mountain, Annie Tremsal Garillon lives inside the space which models spirit of the landscape snatched by depth, chanted by lines of fir trees. The artist leaves the height and espcially the duality to arrive at a « space » inhabited by the interiority. It gives diptyches with squares, oppositions of shadow and light, an alternation between night and daytime, a long work of subjects, compositions, researches for materials, for engravings in abstract compositions punctuated with sketches of characters or with more ambivalent forms which get loose more and more from the geometrical formalism in its last compositions. The gold leaf square which returns in numerous diptyches symbolizes the process of the passage from a world to an other one.
In her studio, the artist is surrounded with numerous unfinished paintings.  » I do not hurry, I wait for the painting to call me  » underlines the artist to emphasize the importance of time and research.  As in mezzotint where  » the cradle  » works the plate from the deepest black to make spring the light, Annie Tremsal Garillon puts in to test the white by leaving of superimposing which go to the darkest to the lighest.

Paintings begin in the chaos, then, gradually, the perusal, the working drawing appear, settle down, the movement and the rhythm expands and go out of the frame of the painting. This technique to leave the black and the chaos, she also applies it to her one-design monotypes where she begins by darkening completely on the plate before intervening to make the light appears.

It is always the unity which prevails when the line of the engraver joins on her painting, when it investigates the origin always by going farther to the use of its media (steel, fabrics), when she settles down in the meantime with her writing consisted of diptyches (paintings and plates of steel), of white and stripes. The human body is only suggested silhouette to express the humanity which joins in a world where the offering and the rite prevail. It was before the beginning of the world when the dualism did not exist.

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