Literary Heterogenesis by Noëlle Batt

Author:Noëlle Batt
Language: eng
Format: epub
ISBN: 9783031616495
Publisher: Springer International Publishing

In this second passage (1979), Bergman’s descriptions are a mix of what she sees and restitutes in very precise terms (“On a l’impression d’une couche d’air entre chaque rayon de lumière et ce sont ces couches d’air qui créent la perspective”) [“It is as if there was a layer of air between each ray of light and these layers of air are what creates the perspective.”], and what she feels (“La lumière me met en extase […] C’est mystique”) [Light drives me ecstatic […] It is mystical]. It is interesting to note that she paints neither one nor the other but a combination of vision and feeling which finds an adequate form in abstraction. As Claustrat explains later in the article including this citation: “Son processus créatif vise à déréaliser le motif” [“her creative process aims to derealize the motif”] (Ibid., p. 164). Bergman escapes both the fact of representing what she sees and that of representing according to the pictorial conventions of the time. She invents a way to suggest her vision with abstract lines and to render her intimate feeling through an intense light produced by the use of metal sheets (gold, silver, aluminum, copper) that she applies on the canvas, on which she later paints or which she scrapes to expose the preliminary layer of paint beneath the metal. The metal scatters the light in all directions. What we observe here is the careful preparation of an artistic “milieu”:To confer energy and dynamics to the light coming out of the canvas, Bergman applies all kinds of technical processes on the metal sheets: burnishing, scratchings, striations, applying paste before affixing the metal sheet. The result is either an effect of relief or glaze – colored or transparent surface that can be compared to stained glass. The landscape loses its terrestrial aspect. It becomes cosmic and the light, astral. The motif settles in an unstable space. The landscape is conceived of as a place of flight (Ibid., pp. 166–167).

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