The pictorial space in question

These scenes, with their expressionist and spectacular character, are performed in spaces that oscillate between platitude and depth. If there is no question of an illusionist perspective, a subtle and confusing dialogue takes place between the figures, the backgrounds and the graphic elements added on to the colour, sometimes themselves covered in turn in echo, by the figures, the background or the drawing. These last elements, straight lines, grids more or less close, more or less tight, measuring rules, frames, often drawn in black, charcoal or chalk, could be used to structure the space of the images by setting frames, directions or limits.  In reality, their overlaps, unveiling, masking, weaving and interweaving with the other pictorial components make them appear vain in this attempt. The depth is therefore only subtly suggested by this play of: top, bottom, hidden, shown, multiple planes juxtaposed, superimposed or intertwined.
The general confusion is all the more effective. In this spatial chaos, the "Angel-Drogynous" do not seem ready to let themselves (by) being framed, locked up. Impassive, they strive to cross boundaries.

In the middle of this turmoil, however, there is a different space in some of the canvases. A "zone of silence", like a refuge. Often rectangular in shape, it emerges from behind the figures or in the background. Only surface treated in solid black color. A black created by the artist, resulting from a precise mixture of various pigments. An absolutely matt black that absorbs the light, grabs the spectator's eye and sucks it in like a vertiginous hole. Deposited there at the end of the work, an act of completion of the work, this space, deliberately small, comes with its concentrated power to balance the whole composition and bring it the necessary breath. It is reminiscent of the monolith of S. Kubrick's film "2001 the Odyssey of Space". Its mysterious presence echoes the process of life, death, rebirth.

Prune Kantor