Artworks

Cubism

In cubist works of art of JalinePol, the shapes and objects are fragmented, analyzed and gathered within a representation that is abstract yet not non-figurative.

Motivated by fine art, JalinePol, seeking original plastic solutions, began learning three-dimensional modelling. Her use of the painting knife leads her to create clay models whose surface consists of “modeled facets”, inspired from analytic cubism in painting. Her quick mastery of modelling techniques and other related production techniques enabled JalinePol to create Paulan, then other model in patinated bronze.

Unlike the precursors of Cubism, JalinePol capitalizes on her mastery of modelling techniques and color in creation pictorial works, bringing depth, motion and vibration to her painting.

Taken from works on the creation of a new pictorial space that rejects the imitation of reality and isolates elements from the whole, Cubism is an abstract representation that still remains formally realistic. Also drawing inspiration from the primitive arts that revolutionized the western tradition at the time, Cubism upset the notion of representation in art by offering other views of nature.

Cubism remained a central question for artists. It was certainly the most decisive movement of the history of contemporary art.

“The lines that are parallel to the horizon give scope… the lines that are perpendicular to the horizon give depth. Yet for us men, nature is deeper than it wide, hence the necessity to introduce in our vibrations of light, represented by strokes of red and yellow, sufficient amounts of blue shades, in order to allow the air to be felt[1]”

Geometric lines and shapes build the movement by creating, through contrast and color effects, vibrations varying in speed.

“Cubism is an absolutely original pictorial language, a totally new way to approach the world, and a conceptualized aesthetic theory. It is understandable that it may have imparted a new direction to modern painting as a whole[2]”

[1] Extrait de la lettre de Cézanne à Émile Bernard, 15 avril 1904.
[2] Daniel Robbins, 1964, Albert Gleizes 1881 – 1953, A Retrospective Exhibition, Published by The Solomon R. Guggenheim Foundation, New York, in collaboration with Musée National d’Art Moderne, Paris, Museum am Ostwall, Dortmund.