Le coeur encore

Source Credit:  Content and images from Wall Street International Magazine by Wall Street International.  Read the original article - https://wsimag.com/art/66348-le-coeur-encore

Le coeur encore brings together a group of new paintings by London based artists Stefania Batoeva, Pam Evelyn
and Francesca Mollett. Drawing broadly on inspiration taken from hydrofeminism, psychoanalysis or the
metaphysical (and metaphorical) essence of weather and the natural environment, the works included in this
show ultimately find synchronicity through their expressiveness, where form and meaning is loose and
ambivalent. The title, taking its name from a painting by Batoeva, perhaps suggests trusting in one’s intuition,
staying with the abstract and allowing oneself to return again and again to a place of feeling and imagination
unencumbered by self-consciousness. ‘Le coeur encore’ also speaks of the core, the centre or meeting point of
body and mind.

Using a process where the outcome is dependent on physical application rather than aesthetic decision making,
Pam Evelyn’s focus is to paint acting from impulse, chance or frustration creating different tensions across the
canvas surface that enable her to produce a kind of organised chaos in paint. Her drips, streaks and smudges
form a palimpsestic surface where the marks have the capacity to evoke material sensations without lingering
on a particular name or fixed meaning. Evelyn maintains a sensitivity to the structures and hidden gestures that
may reveal themselves in the work through a process that she likens to “a mist rising”. These marks may appear
as non-representational forms as well as become visible as more recognisable suggestions of figuration and
landscape.

In Stefania Batoeva’s paintings, boundaries collapse: dreamlike, half-figures seemingly caught in suspended
animation merge with their surrounding landscape whilst symbols and shapes appear and dissolve on the
canvas surface. Drawing from autobiographical experience and an exploration of the subconscious,
Batoeva’s paintings can be interpreted as psychoanalytic exorcisms or a purging of that which might lay
concealed or suppressed deep within the artist’s psyche. She describes her experience of painting as though she
were in a relationship with a living being: “I am on equal terms with the painting. It speaks, I speak back, it can
be silent or in a deadlock for months, meanwhile I have changed, read something new, found a new set of tools
to respond. The painting itself has also changed in that time. I see it differently. It is a love affair and fight.”
For Batoeva, her paintings become proxies for the relationships/struggles she experiences with loved ones (both
people and things) beyond the studio in the outside world.

Influenced by material feminism, Francesca Mollett uses paint as a way to connect bodies with bodies of
water, asking: “how can I destabilise the boundary between body, water and landscape, begin to ‘think with
water’ as I think with painting?” In her paintings thresholds collapse and fold in on themselves, the material
body dissolves and structures liquefy. With oceanic energy, Mollett moves paint across the canvas surface like
water; waves of paint chaotically rise and crash whilst elsewhere smooth whirlpools swell and still.

Describing her paintings as “abstract interior landscapes” merging bodies of water with underground worlds, Mollett’s
images appear to drift inwards, connecting deeply with the emotional – mystical, even – and that which is
secret or hidden. Light bleeds through the cracks of seemingly subterranean environments, pockets of the
canvas glow amid dark shadows and seeping from cavernous depths.

Source Credit:  Content and images from Wall Street International Magazine by Wall Street International.  Read the original article - https://wsimag.com/art/66348-le-coeur-encore