Paulette Taecke
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Paulette Taecke's paintings are not obtrusive; they are suggestions, merely suggestions. "My reality is never anyone else's", she says, and she doesn't impose hers. "I observe and associate images that grow in my mind to a new experience, to a possible story, probably totally different from yours". |
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When looking at her paintings, the spectator becomes his own director, interpreting the actors, the facts and the next scene at will. Who is that dark-skinned boy walking down the pavement? 'Remember Chiati'. He turns away his head, you can't see him distinctively He is a Congolese boy, your brother's friend when you were a child. He went back to Africa, what has he finally become? When and how did we first meet some-one with a different skin colour? |
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Even through her colours, Paulette Taecke enforces the suggestion of "disorientation". There is neither white, nor black, nothing is determined: the bright grey of the North Sea dominates. This is not meant as a poetical evocation, it refers precisely to chromium and shades of colour the paintress perfectly handles. Like the Eskimos have a lot of synonyms to depict white, the North Sea offers a wide range of greys: from pale grey to sombre grey, from warm grey to almost sunny, bright grey. This is not a contradiction in terms. The greys represent the continuous movement of thoughts, ideas being fixed: like two images pulled together for a while by the power of attraction, edge away from each other the next moment, in different directions. |
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The protagonists in the paintings are mostly women, girls or children, vulnerable and incomplete, as picked from their flight by coincidence, inaccessible, just like what happened in the past can not return. |
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Their glances are never direct, and mostly, the paintings don't treat of women: they only depict parts of their bodies, nonentities or characters one seems to remember; like in improvised thought associations. |
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I don't wish to say much about these paintings: it's no good and for that matter impossible to "orientate" or interpret Paulette Taecke's works of art. Let every spectator be an active protagonist himself and enter the pictures: their space invites everyone willing to dwell here for a while. The works of art speak for themselves, the paintress masters her metier so perfectly, there is no need for evocations. The spectator is not confused and no tricks are used to draw his attention. Paulette Taecke's "state of disorientation" is expressed through the composition, the drawing and the colours in oil paint, a technique still able to astonish nowadays, proving to be perfectly suitable to pass on a message to men and women of this new century. |
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Giuliana Mazzola |
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| Als een onderhuids verlangen blijft kleur verborgen onder een oppervlak van voornamelijk tinten binnen één toon. Schakeringen van licht tot uitdovend grijs bepalen de atmosfeer. Het is merkwaardig hoe we verleerd hebben de nuanceringen van grijzen te begrijpen. Met een parfum van kleuren wordt de realiteit soms licht en draaglijk, maar daarom ook vaak achteloos verteerbaar. Misschien schildert Paulette Taecke daarom dat ‘de werkelijkheid van het leven onvermijdelijk dubbelzinnig is’ op een muur. Die verwijzing naar dubbelzinnigheid manifesteert zich in haar werk door het gebruik van tweeluiken. |
| Vrouwen vormen het leidmotief onder de voorgestelde figuren. Ze gunnen zich meestal slechts een fragment van zichzelf. In de schilderijen wordt niet gemorst met een teveel aan gegevens die tastbaar geëtaleerd worden. Toch is er steeds dat gevoel van aanwezigheid, het gevoel dat je denkt alleen te zijn in een ruimte maar je je niet van de indruk kan losmaken dat er nog iemand of iets is. |
| De schilderijen nodigen uit, in te gaan op de suggestieve kracht van die afwezigheid. Maar wie aanvult, wordt vooral met de eigen wensen geconfronteerd. |
| Fragment uit een tekst van Stef Van Bellingen. |
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