An artist who studied architecture and art at the Beaux-Arts in Montpellier explores design and negative space in a series of drawings.
Mounia Kansoussi
Space and time are the conditions of existence.
My drawings are often about time, potential movement and space.
Moments made possible.
I try to “enable” places, movements and durations. The creation of moments in and through drawing; situations are not stable. Events are likely to occur. I’m looking for a state of latency in the drawing.
These latent movements I expect can be imagined by the viewer, I try to make possible in my images. The viewer can project what might happen beyond the representation.
Encounters or “non-encounters” in spaces that condition this; this is the case in the Peuplés series of drawings.
In the Extraits series, I set up a game of form and counter-form. Two of the same shapes are used to try out different displacements, and several “hollows” are used to receive these shapes. The viewer can have fun “filling in the holes.” This gesture will cancel out the drawing…
One day at the Beaux Arts, around 2004, I was introduced to the work of Samuel Beckett. Since then, I’ve had the sensation of resonating with my own interpretation of his writings, both unconsciously and intentionally.
The Synchrones series is a kind of choreography between a character, a module and light. Depending on the moment, there may be a proposal. I can create an infinite number of situations. There will be others.
I also like to borrow from the language of music in developing my series. A theme will be subject to variation, and I want to do this in my drawings. A time of reading that begins and may not end… Again.
See Samuel Beckett’s Pour finir encore et autres foirades / For to End Yet Again and Other Fizzles.
