“My paintings have nothing anthropomorphic or organic […]. I try to make visible the origin of the visible. »

 

Monique Frydman's work shows a great attachment to painting and to techniques and materials to which she has been faithful since the beginning: a dose of chance (which she distributes according to the periods), the use of different techniques of progressive impregnation color on multiple media (linen, cotton, Japanese paper, tarlatan, pigments and pastels), the balance between pictorial work and graphic work with the use of paper. Her works show a desire for the physical immersion in the

color, which makes her favor monumental formats.

 

The artist belongs to this postmodernist generation of the radical deconstruction of the painting, but her practice inscribes it in counterpoint: painting becomes for her the place of the inscription of the "sensitive exemplary": since her first figurative and militant paintings

from the 1970s, glued tissue paper (Judith triumphans, 1978) to the large abstract paintings that she developed in series from the 1980s (Jaune Secret I, 1989).

 

The practice of frottage (often using strings, arranged on the back of the canvas) is that which, in the work of the artist, controls what happens in suspension on the canvas – painting, drawing, lines, surface , lineaments of figures – by the color/light effect, dispensed by the volatile matter of pure pigment or pastel block, or by that, fluid, of acrylic paint. She works in series of colors, alternately twilight and crackling, of which she experiments the mass, the flexibility, the vibration, the transparency.