For her third exhibition in Sanatorium, Luz Blanco proposes a series of artworks which appear like a random circulation through fragmented images: Recovered and separated images from their origin, movie and documentary images, scattered and gathered images that direct themselves as a time of graphic recreation. The title of William Morris’ novel News from Nowhere (1890) evokes the idea of wandering in a place that does not exist.
Luz Blanco shows us an often dialectical combine process: The fragmentation of the visual tales as well as the iconic material creates ruptures, scattering, tensions and mysterious crumbling narratives. If there is narration, it doesn't impose its own codes and fails to conclude its tales, preferring to capture the instant of the emerging image.
For the artist, drawings recreated from photographs are some kinds of memory filter. The notion of filter is ambiguous, both dissimulating screen and revealing window of an opaque event. Her drawing practice has the ambivalence of transparency and erasure, as well as of fictional or real memory. Images constitute some memorial emergences with their blanks and their captivating reality.
This exhibition aims to show drawings as a work in progress on several fronts, with fragmented and reconstructed images, like a combinatorial process. It focuses on fragments of memories, exhibited in order to let the visitors reconstruct them through their own vision and language.
Luz Blanco is a French artist living and working between Paris and Istanbul. Her works of art, drawings and installations explore a possibility of dialogue between erasure, memory disturbances and oblivion. They invite the viewer to engage with the notion of soft error.
After a solo exhibition in New Delhi and another one in Paris in 2015, she presents her new solo exhibition in the SANATORIUM gallery. Her latest work, mainly drawings, plunges us in a kind of archaeology of memory, close to a post-digital aesthetic. Through a long drawing process she transcribes some digital images with their frames, dots and mechanical disruptions, thus exploring the notion of vulnerability in order to question the fragility of images.