Sitting Atop the World
If you raise your head you may see her: the woman ‘atop the world’. Sitting atop the world, she observes it from a slight but specific distance. Her name is Clothilde … Clothilde Lasserre, and from her perspective the world is full of life and frenetic activity, and people are dashing about and talking. Viewing the world from above, she creates blurred and abstract images of human celebrations. Although they often depict crowds of people, the individual—drowned in the heart of these masses—is more conspicuous than ever. Her various crowd scenes include street, urban, and seaside scenes, crowds on the verge of hysteria, crowds ready to ‘take off’, and emotional crowds. Crowds are omnipresent in her work; they saturate the eye and become one individual and compelling mass, if they are viewed from a distance. Again, it’s a question of distance. It plays a role in every viewer’s relationship with the works. As the viewer moves back from the works, the language changes, the scenes are no longer quite the same, and these masses of people lose some of their form, spirit, and essence. The mass and the individual are superimposed, interact, and invite us to explore landscapes peopled with imposters that look as if they have come straight out of the work of Roland Gori.
Is the woman ‘atop the world’ inviting us to participate in a colourful reflection on individuality? Perhaps. We will dig deeper … after all, that is what we are here for ! Author David Kuhn, Translation David and Jonathan Miachaelson (JD-Tard)