I already had the opportunity to speak about the work of the artist Flo Poissonnier. The small visual arts "departments" in which she engages: painting, drawing, easel graphics, book illustrations, posters, advertising graphics - advertisements, packaging, labels, logos, photomontages show the diversity of her work. We then consider it defining for the artist's strong personality, for her impetuous, capable temperament, alongside with sinking sensitively to encompass the creative vision of the poets and writers she illustrates and for whose volumes she also creates the covers. We can not, in any case, establish a disjunction between the work of the graphic artist, the designer and the creator in her case. What matters for Flo Poissonnier (and generally for contemporary artists working in the visual field) is a direct approach to the material: the meaning is explicit, displayed, shouted - and obviously there is no path through which it could slip, what in art is called "transfiguration", that is, a rhetorical object encirclement (metaphor included). Thus, the subjective order is disturbed, and the viewer, taught to go through an artistic "menu", meets the reality directly. In her creations, Flo forces real objects and forms to gain insane syntactic functions, having the gift of unexpected evacuation of evocative energies. However, the mythical memory of objects and forms can also be triggered by their involvement in the inflexible and pure geometry of spatial developments that are oriented horizontally or vertically, but maintaining their relations with an unity, a kind of matrix which, in the geography of black and gray, marks the discreet presence of a warm or cold tone as it is the case with most of Flo's works. In Flo Poissonnier, the idea does not come from generalisations, from abstractions, it is subsumed to the poetic feeling: the artist is first of all a sentimentalist - in the good train of thought. In the work of an artist with a natural evolution and a well-defined plastic logic, the stages intertwine and succeed organically. Regarding Flo's entire work, this is a matter of great force. 

Emil Florin Grama: Painter & Art Critic  |