Les peintures de Gal Schindler prĂ©sentent des crĂ©atures d'un autre monde dont les couleurs semblent se jouer de nous. Son obsession de peindre des corps se traduit par une ligne Ă©tonnante qui entremĂȘle, en un mouvement ondulatoire, courbes et cheveux de maniĂšre sĂ©duisante.
Toutefois, le pouvoir de ses figures dĂ©passent les simples charmes. Leur regard enchanteur fait surgir des voix mystĂ©rieuses du passĂ©, peut-ĂȘtre celles des sorciĂšres du Moyen-Ăge qui, soumises Ă la âjustice", Ă©taient forcĂ©es d'admettre : « je nâai pas osĂ© dĂ©sobĂ©ir au diable ».
Si ces personnages ressemblent parfois Ă des monstres, lâironie nâest jamais loin. Rebelles, mais aussi tendres et attachants. Comme sâils dansaient, leurs corps reflĂštent les gestes impulsifs de l'artiste qui Ă©volue, affranchie, devant la toile. Pourtant, Schindler a grandi entourĂ©e de livres d'anatomie et de photographies de corps humains morcelĂ©s, transformĂ©s et re-sculptĂ©s, appartenant tous Ă son pĂšre, chirurgien orthopĂ©diste. Pourrait-on dire alors que le coup de pinceau spontanĂ© de Gal Schindler s'inscrit dans cette action de dĂ©construction et de reconstruction du corps humain ?
Sans aucun doute, du corps fĂ©minin. Si Lucien Freud et Willem de Kooning, ou encore les photographes George Platt Lynes ou Herbert List sont autant de rĂ©fĂ©rences pour lâartiste, Schindler dĂ©sapprend toutefois les regards masculins sur le corps en sâattachant « [to] look in so quick you see the secret »[1], comme lâĂ©crivait la poĂ©tesse Anne Carson.
Les figures flottant dans des ocĂ©ans de couleurs font Ă©cho Ă l'intĂ©rĂȘt de Schindler pour le royaume de la mer, qu'elle considĂšre comme un monde des possibles, Ă lâimage du cosmos, oĂč tant de phĂ©nomĂšnes restent encore Ă dĂ©finir.
La nouvelle exposition de Schindler Ă la galerie Sultana, â Dust Proof ", prolongelâexploration des espaces profonds. AprĂšs une sĂ©rie de peintures observant la forme des coquillages en tant qu'objets silencieusement rĂ©sistants, Schindler nous dĂ©voile dans sesnouvelles piĂšces, la nacre.
Les perles formées par accumulation progressive de couches comme les peintures délicates et troublantes de Schindler, à travers leur épaisseur multiple, nous font apercevoir une vérité intérieure qui demeure insaisissable.
[1]Anne Carson, Town on the Way through God's Woods
Gal Schindlerâs paintings present creatures from another world, where colours seem to play with us. Her obsession with painting bodies translates to a peculiar line, encapsulating a never-ending movement, interweaving curves and hair in an undulating, tempting manner. However, what her figures convey is way beyond seduction. Their enchanting way of looking at us raises mysterious voices from old times, evoking witches hunted in the middle ages when they were brought to justice and forced to say that they did not dare to disobey the devil.
Monstrous, yet, somewhat humorous. Rebellious but also soft and gentle. As if these figures were dancing, their bodies reflect the impromptu gestures of the artist herself, moving playfully in front of the canvas. This might be unexpected, when one discovers Schindler grew up surrounded by anatomy books and pictures of human bodies being modified, re-sculptured, rearranged and twisted, all belonging to her orthopaedic surgeon father. Can we say then, that Gal Schindlerâs improper brush stroke joins this action of deconstructing and reconstructing the human body ? Undoubtedly, the feminine body; though many of Schindlerâs sources of inspiration are male artists, such as Lucien Freud and Willem de Kooning, or photographs such as George Platt Lynes or Herbert List. We can understand nonetheless, that Schindlerâs way to unlearn these male gazes on the body, is, as the poet Anne Carson would say [to] look in so quick you see the secret.
The figures floating in oceans of colours are alluding to Schindlerâs interest in the realm of the sea, which she considers as an alternative world, somehow resembling outer space, where so much has not yet been reached. Her new show in Sultana gallery is a continuation of the artist's exploration of these deep spaces. After a series of paintings delving into the form of shells as silently resistant objects, Schindler presents here new paintings, revealing the shellâs soul, the pearl. As pearls are formed through the gradual accumulation of layers, so too are Schindler's delicate yet disturbing paintings, both divulging to us a noiseless inner truth.
Noam Alon