Maya Chijavadje

Enigmatic universe of Maya Chijavadje looks resolutely from the side of abstraction. Her inert enigmas do not lean against a human representation and enrol in a more austere referential than other presented artists. A world under cellophane, embryonic, in which the masses in gestation seem to stick to the anonymity, in which a rope appears as one of the recurring elements of the discourse. Between visible and invisible, between precise and blurred, not a single line fixed, not a shadow or a straight line, but mineral and vegetal superpositions. Having taken some time in order to observe, our sight detects bit by bit superior qualities of transparency, which make up the texture of her works: an organic, evanescent translucence, inhabited by colours heavily drawing on a chromaticism stretching from the land of Sienne to the green of water.

Works that for a major part of them appeal to a mental presence, an ethics in sleep that suddenly appears through phrases integrated to the composition. Aphorisms, lapidary formulas proclaimed in English or Russian. Her work Permutation opens up on : “a way, especially one of several possible variations, in which a set or number of things can be ordered or arranged”. And then this chess table with an orange dominance that shows a white king in a situation of a checkmate.

Following all this series, the philosophical intention appears thus in a low voice: we should love others like ourselves, the spirit lives but the body is weak. Written in a watermark, directions of life that are not immediately perceived. Sometimes unreadable till they fall, drowned in a misty zone of the painting. As though in these aggregates, the shape itself possesses a hidden message. As though in an adequacy of an image and a text the artistic object involves in revelation in two stages. As though the spectator had to furtively capture a general impression before taking into consideration this sub-titling which should be its explanation, its resolution. Here the mystery exists more on a level of a mark of this literary demonstration that allow the cultural signs that make it real. Maya Chijavadje blurs the tracks of the identifiable.

Sometimes however, this texture, a distant heir of the J.M.W Turner, gives room to painting in which showed up a third dimension, a deepness like these masses of black shadows revealed by a harsh light. Perspectives not entirely from our world, as in surrealistic works of Yves Tanguy: undetermined shapes, meteorites fallen on the lunar soil. Here the image passes from aquatic to earthen as the history of the works was created.

Stéphan Lévy-Kuenz