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In Montmartre, a secret house shelters the work of Jane Puylagarde: Ad Infinitum
April 2022 | AD MAGAZINE - Athéna Rivas
Nestled at the end of the impasse Marie-Blanche, in the Montmartre district of Paris, the Maison Eymonaud discreetly exhibits the new creation of the artist Jane Puylagarde: "Ad Infinitum". A painting all in white dot, which contrasts with the old one in its case.
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Gigantic and soothing. This is how one could describe Jane Puylagarde's work, Ad Infinitum, exhibited in a place never open to the public: the Maison Eymonaud. A neo-gothic residence in Montmartre, classified as a historical monument in 1995, it hides Jane Puylagarde's masterpiece in one of its glass-ceilinged rooms, which can be seen until Monday, April 25, by appointment.
The owner of Maison Eymonaud, built in the 19th century , is close to Jane Puylagarde. It was he who proposed to the artist to create a work and present it in his dining room, which for the occasion became an exhibition hall. The walls and glass roof of this former artist's studio, with its impressive high ceilings, have been covered with white panels to provide the work of Jane Puylagarde with a perfect setting. The installation faces a vestibule in dark, period wood, which contrasts with the stark white of the work.
With its five meters high, almost four wide, and its nine frames, all of different size and shape, Ad infinitum is a masterpiece. We are struck by its height even though it is installed in a room that would make any painting tiny.
In these lines some see rice fields or the tributaries of a river, others the connections of a brain, yet Jane Puylagarde thought of it as a “ tree of life ”, with its roots.
Ad Infinitum is the latest addition to Jane Puylagarde's Croissances series , which is inspired by nature and in particular by a trip to Japan in 2018. All in dots - artistic signature of Jane Puylagarde - and in monochrome white, this set of paintings is exclusively made of acrylic. Thanks to the light projected above the work, the relief of the points forms shadows and makes the fresco almost alive.
Each point of these nine paintings is a drop of paint, more or less high, and more or less wide. The thinner ones rise high, the thicker ones stay low, and each one leaves a different shadow on the empty space left voluntarily by Jane Puylagarde on her canvases. This painting technique has been worked on and studied by the artist for several years, in order to obtain this light yet solid result. Layer after layer, Jane Puylagarde built this fresco in six months.
