The Bird Diary
Pourquoi envol, comme voler
Prendre, prendre tout
Sur l’air de la liberté.
RMC
From the 2000s, releasing its line, RMC gives birth to a universe of anthropomorphic forms among which the bird will occupy a privileged place. Principle sometimes feminine, sometimes masculine, mixture of freedom, seduction, strength, he is Icarus or Zeus in the mythological series, Bird-Tower struck down in « Empty Memory » (1), Lady Bird for the Brooklyn Museum (2) . More and more fantasized, it then emerges from the walls of the caves of Périgord (3), to end up being born from mineral models, stones or fossils, which she now feeds her imagination. The series presented here was born out of confinement and shares with us the artist’s experience over the past two years.
Technique: Indian ink and colored pencil on paper. Dimensions: 32×40 cm for the first 3 paintings, 24×32 cm for the following 12
PC
The Bird Diary
Pourquoi envol, comme voler
Prendre, prendre tout
Sur l’air de la liberté.
RMC
From the 2000s, releasing its line, RMC gives birth to a universe of anthropomorphic forms among which the bird will occupy a privileged place. Principle sometimes feminine, sometimes masculine, mixture of freedom, seduction, strength, he is Icarus or Zeus in the mythological series, Bird-Tower struck down in « Empty Memory » (1), Lady Bird for the Brooklyn Museum (2) . More and more fantasized, it then emerges from the walls of the caves of Périgord (3), to end up being born from mineral models, stones or fossils, which she now feeds her imagination. The series presented here was born out of confinement and shares with us the artist’s experience over the past two years.
Technique: Indian ink and colored pencil on paper. Dimensions: 32×40 cm for the first 3 paintings, 24×32 cm for the following 12
PC
1 Empty Memory is a bilingual book that brings together
texts and drawings born of the trauma of September 11, 2001. The
original is at the New York Public Library.
2 Lady Bird is an Egyptian sculpture from the Predynastic period which is the emblematic figure of the Brooklyn Museum. RMC has brought it back to life in artists’ books that have entered the museum’s collections.
3
During residences at Les Eyzies-de-Tayac from 2009 to 2012, RMC, always
looking for more depth in its art, was, like the artists of prehistory,
imbued with the play of light on the walls caves to renew its formal universe.
