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© Copyright 2005 Iris

ARTICLES

Iris: The complicity of language
Without pretension or gaudiness, Iris (Geneviève Lahens Esper) paintings on exhibit at Fanal Boutique (Rue Capois) these last few days first impact by the simplicity of their language. Silent understanding. Measured lines. Jarring rhythms. The inks unfold like a customary dance that brings out beauty and feeling.

Those inks, mostly small in size, exude a great deal of beauty and call on us to delve into each sign and each symbol. Without fanfare, the works speak of their intimacy, of their eternal quest for a world ruled by the intensity and purity of things.

Iris, an architect by trade, has been painting for the past three (3) years. Her palette is timid, like a diary to which the artist confides her most secret gestures. This work also contains its share of history by its return to forms and images of ancient civilizations. Thus, the painter expands the horizons, asking of its viewers to go back in time and make the voyage in reverse. Iris’ work thereby offers a path to the renewal of Haitian painting.
The sensitivity of the inks, through the stylized arrangement of the signs, figures and colors bring out the sensuality of the space. The paper shakes under the thickness of the signs. A dancing guitar. A disjointed body bearing within itself the image of its fissure. A line that enhances the coloring. An arrow shot through the space of a lifetime’s experience. A subtle but truly poetic language, discreetly speaking of beauty, of freedom.
R. Saint-Eloi
Le Nouvelliste
Tuesday, April 18, 2000

A direct take on the social reality
“ Iris constructs forms that baffle, with noble as well as common materials that mix , establishing a rapport tinted by ritual, attracting other gestures, other glances. These different objects put together are no longer indifferent. All of this conjugated in a playful space. An often exotic game doubled by a real reflection on life and behaviors. This game serves as the ideal vehicle for the materialization of her existential anguish; nature, others, the gods or God. Better than the image expression of imagination and dreams “perhaps art ought to first reflect the painter’s subjectivity, his ideals and aspirations”(EDVARD MUNCH).

Iris uses painting as a lever to express her emotions, ludicrous , dream-like everyday emotions, often pleasant but at times disturbing. Emancipated or eluding a permanent residence, her painting would fit in a space yet to be classified where the traditional, the ancient and the spiritual absorb the fragrance of modernity. Her colors which tend towards “loko” yellow, “Ayizan” green, “Ogow Feray” red or “Guédé” black and white are selected according to the mood of the moment. It is however opposed to the hysteria of the modern consumer world that constantly attempts to reduce the artist to the status of a supplier of marketable objects.”

Prince Gaetjens