Marie Laure Colasson.

French painter, was born in Turin in 1955 and lives in Rome. She is a painter, she has exhibited in many Italian and French galleries, her works can be found in museums in Japan, Paris, Buenos Aires, Brussels, Turin, Rome, she teaches ballet and practices the choreography of contemporary dance performances. You write poetry in French. The collection Les choses de la vie is forthcoming.

The term "dissipative structure" was coined by the Nobel Prize for Chemistry Ilya Prigogine in the late 1960s. The merit of Prigogine was to bring the attention of scientists to the link between order and the dissipation of entropy, shifting attention from the static and equilibrium situations studied up to then, to the dynamic and unstable ones, contributing in a fundamental way to the birth. of what is now called the epistemology of complexity.

By dissipative structure (or dissipative system) we mean a thermodynamically open system that works in a state far from thermodynamic equilibrium by exchanging energy, matter and / or entropy with the environment. Dissipative systems are characterized by the spontaneous formation of anisotropy, that is, of ordered and complex structures, sometimes chaotic. These systems, when crossed by increasing flows of energy, matter and information, can also evolve and, passing through phases of instability, increase the complexity of their structure (or order) by decreasing their entropy (neghentropy).

Marie Laure Colasson understands painting as a figural space, a "dissipative structure", a complex structure of shapes and colors subject to non-linear bifurcations and deviations that operates within an "open system" par excellence which is space. In space the "conglobative process" is repeated trillions of times with a series of almost infinite variations. Colasson's figural language incorporates the idea of ​​figural space as the typical structure of hypermodern complexity.

The discourse on the truth and meaning of painting anchored to a concept of mimesis has been de-classified and replaced by a discourse on vertigo and on the reversion of depth on the surface, of the original in simulacrum, of the ordo rerum in ordo idearum, in ordo phantasmaticum . The discourse on meaning has turned out to be a similoro, a fake, an ideologem. The surface, the simulacrum, the illusion, the glare are the avatars of Colassonian figuration. The whole strategy of the new figurality is to bring things to the mere appearance of their emergence, to make them radiate and consume themselves in the game of appearance and dis-appearance.


                                                                                                                                                    On the painting of Marie Laure Colasson

Marie Laure Colasson (born in Turin on December 14, 1955), has behind her a very probable work of lexical construction in the context of a geometric abstraction full of invariants, puts the viewer with her back to the wall with this large series of collages and dissipative structures. There is not in these fascinating works a drop of condescension, but a rhythmic-chromatic enthusiasm, a desire to construct continuously disjointed from the inside waiting for an event that is about to happen, inevitable, almost a narration for morceaux, together puzzle and polyptych.

The fragments of the world, reassembled and forced to express themselves in another language, are as though rescued from some mysterious depth surprised by a vortex. It is as if everything were crossed by a sort of apocatastasis which, however, is opposed by a musculature of significant dynamic solidity, in which the same anxiety does not sterilize itself, but instead becomes a deep passion for life.

The spirit of Kandinskij and the working power of Léger breathe inside you, put back into circulation in this enigmatic volumetric-coloristic journey by a series of illocalizable thrusts. There is nothing contemplative and restful in these works of extraordinary vitality and firm intelligence. On the contrary, there is the inexhaustible will to measure oneself without pretense with a universe of violently unbalanced relationships, to which it is no longer plausible to provide alibis that put the bloody lacerations in parentheses. I would be tempted, on the suggestion of a materialistic thought that in this suite shows its energy in an unfolding of absolutely anti-mimetic and anti-narrative formal arrangements, to recall that category of "politicization of art" in terms of pure language. - precisely - of the contradiction and conflict, which constituted the axis of Brecht-Bnjamin's theoretical-practical reflection in distant times that seem to continually reopen.

Marie Laure Colasson loves in equal measure the most unexpected chromatic flashes and the spirited montage of her tranches. The reds, blues, purples, whites, flashing chromiums, blacks so badly tolerated by the Impressionists, and which in the twentieth century took on a new dignity and significant dimension, are nevertheless for the energy of his thinking gaze not places of a elsewhere he is not responsible, but stations of an investigation in whose clarity a lump of unresolved obscurity lurks. It is the dialectical damnation of all forms of an adult art that assumes the burden of renouncing innocence and all (guilty) naivety. And it is, at the same time, its liberation, obtained thanks to the equal relationship that is established between the possible backdrop-scenarios and the tangle in close-up of the various physiologies locked in a space that is always at risk of breaking. The color shines. The structure absorbs its phantasmagoria. And Colasson's resolute and careful gesture brings to synthesis the "realistic" clips cut out of the magma as an impeccable recycling of details and scraps, the lyrical flashes that are never evasive and instead invariably dynamic, made on nine photographs-works of the late friend and photographer Alfonso Priori, who pay homage to the dance, practiced in her youth by the painter, in its facticity and its lightness, and the dreamlike values, not infrequently close to the nightmare, which make up a sort of cosmogony nourished and enhanced by its own splendid cruelty.

(Mario Lunetta, Platonic Academy, September, 2010)

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