Andry Anjoanina

Andry Anjoanina

Andry Anjoanina, électricien de métier, est un artiste plasticien, connu surtout par ses peinture-sculptures et installations artistiques, scénographiques. Evoluant dans deux univers communément en contradiction, mais qui au final se rejoint : la science technique d’un côté et une subtile sensibilité n’appartenant qu’aux créateurs d’un autre. Contrairement à d’autres, l’un de ces univers ne sert pas uniquement à l’existence de l’autre. Pour Andry Anjoanina, la technique, la science devient métaphorique en se transposant dans le système - o ! bien complexe - de la vie en société, là où s’inspire et revient le sujet, l’objet de ces créations.

La rencontre avec Razafimanantsoa, l’a permis de parfaire ces démarches techniques vers la fin des années 1990. Puis en 2000, avec Richard Razafindrakoto, les questions essentielles, fondamentales se rapportant à « l’être artiste » lui a élargi d’autres horizons, d’autres univers, celui de l’ouverture à un foisonnement culturel illimité, matière première de la création artistique. En 2005, il a participé aux jeux de la francophonie.

Volavolam-peo - Plastic resonance

  • Dates Du 22 septembre au 12 octobre 2011

Our world comprises a lot of noises and sounds, a lot of shapes and colors. They are in close interaction. Although, in the area of physics, the correlations between colors and sounds, as perceived by a human being, had been proven, there still are some sounds relevant to cultural representation which escapes the most sophisticated scientific tools. Sound waves can be made visible to the eyes with an oscilloscope. However, it is quite difficult to make visible the sound imaginary of a given society.

How to translate the voice of consciousness which is perceived as channeling states of being? How to translate qualities of expression distinguishing the “blue” noises from the “white” noises in Malagasy culture? How to clarify that colors, as well as sounds, do partake in the anguishes of human beings. From musicotherapy to chromotherapy, art and sensitivity perpetually work together to better understand human nature.> Readmore

The world of sounds is highly diverse in its manifestations, as much as in the interpretation which one may make. Being a natural as well as a cultural phenomenon, it is a special field of research for plastic artists who ambition to reach the depth and the totality of his creativity.

From a plastic approach, I try to create a link between the several fields of my perception by bridging the sight (shapes and colors) and the sense of hearing. I intend to materialize sound scales, which are theoretically impalpable, into visual, chromatic, and formal products and, by the same means, to translate the dimensions of my perceptions through plastic workings out.

Through individual interpretation, we will try to consider, in a several ways, sound as pure energy (sounds and lights) endowed with plastic properties (sounds and shapes) and able to manifest by chromatic equivalences (sounds and colors). In all, my crafts derive from cultural models and bring universal messages. They are meant to reinvent sound and color so as to re-possess the world.

Key Lines

By contrast with the crafts of reproduction, the birth of artistic crafts requires permanent researches and perpetual re-evaluation. As a contemporary artist, that is essentially a witness of his time, all forms of reality are matters for creation, objects of subjective consideration.

Presently, in confrontation with the apologia of scientific progress, manifest in the ambition to master the elements of nature, and ironically with the decline of the elementary principles of what defines humanity, the artistic viewpoint is not left indifferent by such report. Sensitivity is what permits to pass over that contradiction and what allows new perspectives of invention. In the exhibition, sound takes shapes, voices get plastic scopes. Rumors, gossips, conversations and the like become physically palpable, embodied by sculptures, paintings, and installations.

Thus, in addition to artistic sensitivity and to the complexity of technical systems (such as the propagation of sound wave), the reflection of light in a given space is a matter for creation, given that these elements have the same systems of complexities as social realities.

But the fusion of art and science is not solely a metaphoric question. Materials, shapes, words, colors, images which are derived from our social environment – they intermingle and create a concrete dimension, a re-created object. That is how, right from an imaginary world, pictorial representations and xylophone-like sculptures set themselves up to recall the musical sonority transfigured into a plastic dimension. This abundance of elements is an intrinsic and immanent world where happiness comes out of sufferings, hope out of sorrow, creativity out of critical moments.

Sounds, voices and rumors - which are not necessarily positive but rather are hurting, shocking or humiliating in social realities - live in a different scale through the artistic approach that I present in the exhibition.

It is not a matter of understanding anymore, but that of opening oneself into a world of sensations, impressions and emotions in converse. A wide world where we touch tonalities, we feel voices, we mould noises, a world of plastic resonance.

 

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