Texts/Publications
Capturing the Imperceptible”, text by Daniel Leizorovici, gallerist and art publisher, August 2023.
It is on 12 gsm mulberry sheets (Bib Tengujō paper) that the impressive force dans toute sa programmation of the intaglio press is brought to bear when Yolande Guérout prints her engravings.. Immense power applied to a surface of the utmost lightness. Is this not a striking complementarity of opposites, akin to the principles of Yin and Yang? Hold the print in your hands. Irresistibly, the desire arises to see it float, to let it play with the air. Once again, one is led to wonder how something so airy might behave. To turn it into a flying carpet. Look at it. Air and water, brushing against the surface, become part of the composition. The artist reveals their presence with infinite grace. The most delicate ripples and the subtlest nuances emerge. Does she not call her drawings l’air de rien, landscapes of traces, barely perceptible sensations? There is a fragrance of the Orient in Yolande Guérout’s creations. It lingers in the surrounding air. Let us breathe it in deeply.
At least, text by Joël Hubaut, multimedia artist, performance painter, June 2022.
L'essaim dans toute sa programmation. Wouah! Magnifique, tous ces pétales en extension! Yolande Guérout pratique un effeuillage de flagelles séquencés qu'on imagine en flipbook convulsif dans des grésillements spatio-temporels pour l'éblouissement subliminal du quotidien...illumination banalytique quasi automatisée en palpitation hyper sensible par bâtonnets et filaments...C'est démembré. Chaque détail irise son dépouillement capté. Une languette érectile fait charnière en scandant l'excitation des plaquettes. Tout s'engendre par transplants agités tel un diagramme d'infinitude fractalisé dans l'épandage-télex d'une monotypie étalonnée à la roulette, ritualisant ainsi le dupli du pli déployé en pulsation variable. c'est frémissant. L'instagramme inexorable des giclures du temps moléculaire est estampé. Ca s'écoule géométriquement mais y'a plus de matrice, le process maculant s'est auto-embobiné pour se re-générer. Chaque plan gougé se génétise dans, sa radiation scotopique. c'est comme le schéma-genèse d'une animation reproductrice bavant un inventaire sismographique par écoulement. Le motile vibratile se démultiplie en micro-anthropométries ultimes pour former le souffle de la trace de l'empreinte du tamponnage fantomatique des esprits gravés. Somptueuse immortalité du dérisoire du paradoxe de la permanence mutante instable. Les ricochets se propagent en indicible torsions de dessins d'hypnose. Le picto-maillage est minimal. Il grave la vie par vibrations pulsées comme des morsures jouissives pour un scénario existentiel visionnaire. La gravure du shuintage magique converge en tubules vers l'irrémédiable échelonnage des particules. Les coupons gaufrés décuplent une survivance gestuelle potentiellement irréversible. Energie dense de réduction maximale. L'assemblage neuro-cartographique devient stock-mémoire. Larsen visuel en ligature-souche par stimuli. Décharge d'échantillon. Animalité graphique. c'est sublime. Au moins ! Joël Hubaut
Présentation de l'œuvre collaborative à vau-l’eau, œuvre musico plastique avec le compositeur Jean-Christophe Ploquin
Boucle musicale acousmatique (8’48) à partir des œuvres à vau-l'eau de Yolande Guérout
YG: I called upon the composer Jean-Christophe to access the sonic dimension of the creative process and allow us to experience phenomenological and sensory journeys.
The artwork is not only visible but also audible. Drawing, engraving, wetting the paper with water and ink, caressing the surface to spread the charcoal dust: these are all ways of producing sounds. The working process can tell the story of the artwork through sound. We can recreate the different stages of creation sonically. We must be sensitive to the sounds the tool makes on the surface, listen to the long journey of the water as the paper slowly absorbs to the heart of the ream, its flow, its evaporation, its different hues, its muted, muted, or resonant colorations.
Jean-Christophe Ploquin's musical composition (8'48" loop) allows us to reveal how the artwork is created. All the nuances of this journey are transcribed into the music through the temporality of the sonic objects linked to water, air, and fire: the processes of flow and drying are thus perceptible aurally, even though they are not visible. Like the successive impressions contained within the ream of paper, the musical polyphony contains its own layers.
Jean-Christophe Ploquin sculpts these sounds, which he has previously extracted from the artistic process. By working with the sounds produced by gestures on the surface, he creates a space of haptic and sensory perceptions. This sonic exploration leads us to experience water in a very intimate way. Jean-Christophe Ploquin starts with this sonic approach in order to give it depth and a different intensity. He works with the sound by applying effects of filtering and speed, playing with amplitude, frequency, superimpositions, and shifts to deliver an acousmatic musical composition, therefore unheard of in the etymological sense.
The musical space becomes a psychic space in which the visual artwork is expressed. It allows us to appreciate the sonic imprint of creation in the most subtle registers, an experience of the imperceptible. It is advisable to listen closely in order to access this dimension.
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2025 / “She engraves the thinnest paper in the world”, Paris Normandie article by Véronique Baud
2025 / “Unusual”, Côté Rouen, article by Jessie Leclerc
September 2023, Nautil'Art, La Halle aux Toiles, Rouen.
October 2020, co-published with Daniel Leizorovici,
Leizorovici Gallery, 17 rue Labois-Rouillon, 75019 Paris
Arts, Aesthetics, Cultural Life, Fine Arts
Aesthetics Notebooks, Encrages No. 2
