C lar Alary was born in Paris in 1958. After multiple moves due to the occupation of the father, postmaster, she moved to Los Angeles to attend courses at the School of Fine Arts from which she graduated in 1984. Also holds a Master of Fine Arts and a Master of Arts University of Rennes II, she teaches courses including the Ecole des Beaux Arts d'Angers. She currently lives and works in Savennières small village nestled on the banks of the Loire, as a painter and artist. She regularly exhibits his work in France, Germany and the Netherlands. One of his recent exhibitions was held at the Grand Theater of Los Angeles under the Hang hearts. Child she wavered between being Picasso ballerina, then the need to paint was made imperative, first as a psychological crutch and obvious, naturally "without choice", perhaps because she did not see she could do more.
His painting speaks of his travels, real or imaginary. She works in mediums as diverse as collage, stained glass, painting, printmaking, digital imaging, and most recently the bogolan earth.
Stained glass from night till morning I give you here the interview in his studio at the beginning of December 2009.
Why not sculpt and painter eur or photographer or filmmaker? :
When I entered the Fine Arts, I intended a career as an illustrator of children's books. Then I realized that it was not my path, because it appeared to me gear. I wanted to ask me about what painting, the act of painting.
bogolan a mask What interests me is what I call "the kitchen", "doing", working with the material components. We can control everything with paint without need of anyone with a questioning almost permanent even if you may be tempted to rest on certain achievements. I am in constant search and questioning of painting as such. I also like the lone worker who takes his job from A to Z.
What motivates you? :
Finding oneself. Henry Miller said that some were quickly while others needed longer paths, winding, tortuous. I do not feel like I can go to the heart immediately. Maybe I would stop painting when I'd found, which is not going to happen to my meaning. (Laughter )
Sabbath at Lascaux Over time, I realized that reality has always been, I was on my own.
My experience, my life, feeding my painting. It is no exaggeration or to make a figure of speech I say this simply because I can not think of my paintings without mentioning my life. Things are mixed to the point that lifestyle choices have determined the choice of artist and painter conversely choices
more or less influenced my daily life. I will not say as did the artists before me that the art that's life, but I though this is the truest possible
... I'm not looking to bring new ideas or new and My paintings are not particularly innovative. It is in my image, that is different from what you would do simply because my brain prints things differently, and I have a different story.
Travel (etching) I always compare my brain a riverbed because my experience is superimposed as sediments and that my hand looks like inside the fisherman patiently hoping a fish out of water. The fisherman often missing his decision but he was not discouraged
provided. The gesture is as important as taking ...
What is the starting point of a table if there is one? : This can be
obsessions, some words that are emphatically.
other times there is nothing, no idea, no picture, no envy. It's almost preferable. I can compare it to the seed planted in humus that will grow, you simply sprinkle the lead. It is from this embryo that I work.
paint is ordered chaos. I'm not the medium who transcribed onto a screen an image that already existed in my head or elsewhere. I had this feeling was younger, my hand was guided, but it is not my position. It is inside of chaos and order is needed because we are overwhelmed by what surrounds us. Younger, it was akin to a fight, I did not know what compelled me to fight and against whom I fought. When I say bring order to eliminate it and choose what I want to keep and put in my paintings.
Sometimes I use photographs as my primer work, as the series of landscapes. For one of them, I am inspired by two black and white photographs taken in Mali in the Dogon country. I was on top of a cliff where I ruled the landscape and where I was sucked in by the beauty and grandeur of it. On the picture you have the impression of being on top as if you were in a balloon but also almost in, since you distinguished houses, details. This game with the prospect interested me. Of course I changed what we see on the pictures, the preparatory drawings were closer to them than what we see on the canvas. Both perspectives are shown as point starting at the end but there remains much of the original landscape. There are several points of view as if it was traveling and in the landscape and canvas.
What I wanted was also working with matter by latex and ashes. The ash is very fine volatile and can easily be mixed with warm tones but with the cold. At the center of the canvas there is what I call the stone, which has its own history since this form refers to a stone that was given to me by an artist encountered by chance in Britain and who lunge revealed a structure ferrous type within it. It's a bit like magic, as if he had revealed to me anything but an afterthought. I see it as a transmission. In the painting she has a little more the appearance of a megalith, a totem but it looks like a female presence. We could see a woman walking down the hill but that would be married to the image of fire, volcano, lava that initially reminded me of the stone when I got it. This is not the result of reflection, I do not think this particular form when I started to paint this canvas then the idea of the stone arrived and took over. Originally, I thought only the lava at this idea of an island, a barrier that prevents us from going on the other side.
Do you work faster?
Here, the work was fast because I painted it in about three hours. Anyway, I work pretty fast although I reworked some parts. I am not able to analyze the genesis of this form that I worked for it is not a hole but a full intriguing, with its mystery.
In almost all my paintings now I realize that there is a form that is required then it should not be there. This can be zinc, where there feet. I stop
when I feel that the painting is finished but I'm wrong sometimes. Only a few years later we know if we were right. I can not see some paintings. They satisfy me more while others will retain some value in my eyes. Although it is difficult to be fully satisfied by what I can produce. But some are so many gaps that over time the imperfections are obvious to me.
Totem It happened to me not to recognize a painting that was hanging in someone's home. It's rare that I am completely detached from a work. So when I found myself from a collector who showed me the damage to a table I felt a real physical pain when I was almost forgot this painting. Generally I found myself embarrassed to face one of my paintings when I dine with friends. I want to watch it without stopping, change everything.
How would you characterize your painting? :
For me, my painting is figurative. But when I asked this question a decade ago I answered abstract and yet it was just the opposite. Now I say figurative. It's the numbers.
I was like much, the masters or at least I was influenced by painters, including Kandinsky, Alechinsky Dubuffet, but the influence is not necessarily direct. Furthermore, I also lectures and as I visit the work of painters who initially did not attract me as particularly Soulages example. I walk over his work the more I want and it does not leave me indifferent. There are, conversely, painters like Matisse that I love but I'm not sure he has influenced my production. Some paintings impressed me as "The Rape of the Sabines" but I can not analyze what it provokes in me. There are those who have been with me a long time as "The Island of the Dead" by Arnold Böcklin. This table
fascinates me and intrigues me. He reigns there something strange, timeless, magical, time, space no longer exist because the island is off and it seems to be almost. The space is both closed and open, it fascinates me. Why did you want to go on this island because there's nothing as dead as it is and yet it attracts us. The table retains its mystery. This landscape came into my mind while painting lately. long time I was afraid that the world around me do not come in my way of disrupting paint, I protected myself but this is the case now. I can look at things, deal with what happens in the world although it is very violent.
Do you find this world in your paintings? :
In some paintings, the outside came the news but not interfere. I do not know how a painting activist and I'm not interested. I'm not rooted in the social nor political. I'm more interested in individuals than social movements. Interiority, the mystique attract me more than the temporal side. The debate on the place of painting today, its relevance, its death foretold does not excites me.
I open up to other mediums such as sculpture, land art, but I'm always drawn to a reflection on man. I can translate my problem through another tool, but I do not want to talk about nature as such if we take the example of land art. So I have a project called "Trees galvanized" where trees find themselves decked iron corsets. There is a sense they have a double skin protecting and imprisoning them both, not aesthetic. I do not recognize myself in the painting of Morellet, or Vasarelly which I think is far from the nearest man and mathematics. 
I do not feel close to either of some women artists who adopt a feminist stance, while I agree with the claims, but the question of the role of women in our society or in art foreign to me. This is not the endangered motivates me. I find the work of Louise Bourgeois interesting because there is a feminist issue but say not only, there is universal in his art. Femininity or women are transcended as did Niki de Saint Phalle at the beginning. What bothers me is the sheer sprawl even if I totally understand that we can use this medium to express themselves but it does not fit me as an artist. Is this the place where you paint matter?
Having a new workshop has changed my way of painting because I can use much larger sizes than before, higher, wider, too. I am free from certain constraints. I was able to use a chassis that was out of service because of its dimensions. This is consistent with early work on the landscape.
Your paintings do they always have a title? Yes forever. The title appears at the end, sometimes long after. It serves many purposes, in order to appoint the
remember, identify, and refine your idea. Rarely during the performance except for the painting that I named "In Under the Volcano" in reference to the novel by British writer Malcolm Lowry. I thought about it while I worked in the book there is a feeling that something will happen, something will explode, there is a noticeable effervescence that I wanted to find on the web, something crystallized.
I paint on old canvases that I kept and that pleases me more. Down there, there is a woman monster as can be found in some aboriginal paintings, character radiographed with members who are moving in several directions. Even before there was a brain.
remain there records? :
Yes, those vibrations of color, these peaks emerging from previous paintings. It is this underlying content that intrigues and attracts
e eyes. Feet from another painting entitled "The blue feet" but they were down and the fabric is turning that vision of feet above the canvas was imposed. In fact, there can be said that a canvas has brought another. For the latest paintings I wanted to say that they came to me initially because it's not what I wanted to do. There must have organic shapes from which emerged the vital forms. It shows a nucleus with a burst that I missed during the production. Then when I reworked the vision of The Island of the Dead Böcklin stepped in and crushed it explains this perspective.
Ex
recent positions: Grand Theatre Angers
Museum Norden (Germany)
Residence "source" Fresh Paint Gallery
Paris
Biennale de Douala (Cameroon)
Gallery WBZ, Norden (Germany)
Control for Sea France ferry Berlioz
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