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Sonia Burel : artiste peintre
Art géométrique, peinture abstraite
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Lire le portrait de Sonia BurelPortrait by the artist
Lire le portrait de Sonia BurelText by Bruno Mathon
Lire le portrait de Sonia BurelInterview by Bruno Mathon
Lire le portrait de Sonia BurelCollage by Bruno Mathon
Lire le portrait de Sonia BurelCanal Saint Martin by Bruno Mathon
Lire le portrait de Sonia BurelInstallation by the artist
Workshop of Bruno Mathon, artist and Art critic
Ateliers Beaux-Arts of Paris ( drawing, painting, gravure )
DEUG de Langues Étrangères Appliquées Université de Paris 8 English - German
Atelier-school Leconte, Paris
Academy La Grande Chaumière, Paris

Canal Saint-Martin

Whatever the way we cross a river or a stream, every time our eyes are briefly drawn to the surface of the water – why is that? No doubt it is because water remains in our memory as the most beautiful image of what stuff life is made of, both liquid, fleeting and still.

Sonia had crossed the Sully Bridge once, ten times, a hundred times; her eyes had been drawn to the music of light coming from the Seine once night has fallen. The rippling water leaves a trace of a gleaming serpent that is now hiding in the reflecting forge of the night. The town and its magic sparkling have been Sonia’s favourite scene since childhood.

One day she got hold of the idea, for the beginning or Art is always some sensation, a plaything for the mind that demands immediate treatment. But it is not the Seine – too romantic – that Sonia chooses to catch with her eyes; urged on by a desire for moving stillness, she tries to find the place where the “elemental animal” hardly moves, where the mirror of nocturnal bustle has learnt to be silent: the canal, whose stillness is almost total, may be the most perfect choice for what she hopes to make manifest.

This ever-changing glowing movement of the night lights, both hiding and revealing the fascinating stillness and the moving drowsiness, becomes even more elusive on the dark surface of this functional and almost dead waterway. The turmoil turns into periodical, identical shapes, all of them different, however. It loses its meaning to melt into the faraway echo of an eternal dance.

Overshadowed by the shimmering lights, it becomes visual music, the melody of the water’s surface singing the city’s song. Augustin d’Assignies slipped his music underneath those colored reflections; he does not illustrate the images which Sonia and Lazhar have captured, but gives the other side to them, exterior to the faraway festival, and makes it into a song of the depths, the troubling voice of dark and still water.

Bruno Mathon,
Paris, 14 mai 2011
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