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Artist Statement for Caroline Chariot Dayez
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When a philosopher paints, he paints painting itself. His painting turns to reflection on itself and the painting is always self-representational.
Here, reflection acquires a metaphysical vein. When a painter sees visible things, he does not see them withdrawn, as from a balcony. He sees them from the inside, because his body is part of them. He is something visible that sees what is visible. Within him, it is as if the visible were returned back on itself. A hole is dug, a fold without whose shadow there would be no visual perception. It is as if the unveiling of things were folding, cloth, … canvas.
When the painter paints, it is the world that folds up and becomes canvas. Painting is canvas in essence. A canvas is not the material that the painter covers with paint. It is the metaphysical substratum of the painter’s gesture. It emanates visible things when someone visible hollows them and looks at the crust, their skin, on which colours turn up as secretions. The visible paints itself. And the painter is nothing but the canvas that clothes him.
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Caroline Chariot-Dayez was born in Brussels in 1958. Painting was part of her life from a very early age, as her staple diet. When she started her studies, her prime concern was to understand what painting is, and that is why she enrolled in the faculty of philosophy. She was immediately taken by the works of the French phenomenologist Maurice Merleau-Ponty, who would live a deep imprint on her pictorial oeuvre.
Her life has been an ongoing interaction between philosophy, which she teaches, and painting. They are like two sides of the same approach, the obverse and reverse. But until the age of forty, she felt reluctant to show her paintings in public (with the exception of an appearance on the RTBF (1) programme “Les arts en liberté” [The Arts at Large] in March 1995, presented by Christian Bussy.
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