CLAUDE MOLLARD. Faces before Gods, the Origenes.
By Christine Buci-Glucksmann (extraits).
The paradox of Claude Mollard’s pictures lies in the fact that the birth of a face can be seen as the basis of the mineral or vegetal cosmos and reaches the limits of human beings. The pictures are taken from up close to the object, as face to face which refers to the first portraits of humanity like Sumerian or Egyptian art. A face does not define itself only by its natural expressiveness. It can deform, twist or multiply itself. It can represent inexpressiveness, horror or many other looks. At the end, it is only a kind of “abstract machine”, represented by two holes for the eyes and the features of the face, which are the nose and the mouth. It can be deformed until it becomes a non-face. As Artaud said in 1947, “The Human head has not found its face.”
This population of Origenes demonstrates the wild state of art. It emerges from a primordial “chaosmose”, in a true ontological petrification, which forces us to think back the origins of the living and the birth of art. It travels in time, from astral time immemorial to the short-lives of flower-faces, which scramble the borders of the organic and inorganic, with an opposite looks to “nature’s portraits” but yet frequently mentioning the portraits of art.
Translated from French by Marianne Coadou.