Contemporary art is a weird animal: its range of emotions gives priority to cynicism and despair, its discourses take precedence over actual practice, to give meaning to works that are not self-explanatory… On the other hand it reflects a strong attraction towards a certain type of market, willing to pay high prices for artwork whose value is often indexed to the artists’ name and nothing else.
Conversely, we now have figurative artists who defend the values of aesthetic painting, where the work done by the artist speaks for itself, through the artwork itself, rather than through whatever might have been said about it.
One of them — Patricia Mignone — has just finished turning a patrician house into an Italian palace — an ideal place to show artwork made with the same techniques originally used by the Van Eyck brothers, Leonardo da Vinci, Ingres — but also Picasso or Freud in their early stages.
Also appreciated as a decorative painter, Patricia Mignone works with the mixed techniques of the Flemish Primitives, an “old-fashioned” method which she is fond of… there’s nothing naive about it all though, not at all: indeed, with her University degrees and her expertise in modern and contemporary art history, Patricia is necessarily in touch with the subtleties of the world’s contemporary art scene. So why such an attachment?
Beyond the mere pleasure and enjoyment which she derives from these techniques, her commitment is somewhat related to a form of resistance: “Nowadays, Artists’ names have become brand names, and that is what collectors are purchasing, in reality. More and more often, art consists in creating an event, a happening, jostling people, in order to trigger some kind of a buzz. In such an environment, the artwork in itself loses interest: its value is only a consequence of the buzz around it.”
Yes indeed, the art world is currently pushing to the extreme a provocative attitude inaugurated by Marcel Duchamp. For the past one hundred years, this movement has been displaying a level of cynicism and nastiness which, for a growing number of observers, is “an admission of powerlessness with respect to the history of art”. (Olivier Cena in the French magazine Telerama, October 13th, 2010, p. 73). And yet, behind the scenes, the know-how behind figurative art still exists, enlightened by a vision of reality that is not in any way less clear-minded, but plural and subtle.
Contributing to the edifice of an art whose emotions call upon a wider range of feelings than mere cynicism or drama, Patricia Mignone shows her artwork, in an exotic, almost dream-like setting, which in and of itself, is largely worth a visit: an Italian palace, hidden in the casing of a one hundred year-old patrician house.
This exhibition, in constant renewal, seduces an audience fond of authenticity. With a stroke of her brush, that does not wallow in any sort of academicism, Patricia dares to be cheeky, for instance in les Flamandes, a series of paintings blending female portraits by the Flemish Primitives… to the bodies of modern-day women!
In order to receive your invitation and visit the Italian palace and the permanent exhibition, or request an interview, please contact:
Patricia Mignone – 00 32 478 43 68 48
Bureau : 63, Avenue Daumesnil – 75012 – Paris
Atelier : 30, rue du Basson, 6001 – Charleroi – Belgique