TEXT BY ANNE-ELISE BLIN FOR THE EXHIBITION “ENTRE-DEUX”
2023
Alicia Rina's work is an invitation to question our view of what we see, our body, and our connection to the various machines that surround us. The photographs highlight, through the visible rendering of the different cutouts, the temporality of the creative movement. Each layer, each vibration perceptible to the eye reveals not only the finished work, but also the gestural itinerary that leads to its realization. The technical virtuosity demonstrated by Alicia materializes a pure abstraction: time that passes and through it, the moment that punctuates, appears and disappears to give way to another. Nature then comes to life, both in the stillness that characterizes the moment it is photographed, but also in the blurs and movements that simultaneously bring it back to life.
Thus, the work on photographic illusion does its work. The artistic process that allows the superposition of images, of light and darkness, is hidden from the viewer who only observes the finished object. It is a work that allows several temporal and material strata to coexist, like the rocks in which their history can be read over millennia. How can we unravel the mysteries of the creation of Alicia's works? Through what encounters are these images transformed? The staging of the works is also conceived as a device that allows the viewer's gaze to be solicited and to immerse them in the enigmatic nature of what they see. Here, there is no question of taking the object seen as proof of a fixed and formal reality. The contemporary conception that we can only believe what we see and that if there is proof, it should be visual is challenged.
The body is also invited into this journey. We only see bits of it: a leg, an eye, arms emerging from a landscape, a wall, or a corner. This body appears to us as something other, fragmented, constantly fleeing unity. A brilliant and radical device where the body reveals itself as an otherness to be tamed. This poses a crucial question: what to do with this interstice between our proprioception and what we show to others? The staging of photographs through the spectator's gaze takes us to the body and asks us this same question. What do we do with our photographic traces? What connection do we have with a singular, subjective experience? How can we inscribe these traces in a continuity of existence? Alicia shows us the path she has taken, working with photography as a tangible, physical object that can give rise to new relationships with the body.
By revealing the links and the gap between our display (ID photos, social networks, photographs) and our representation of ourselves, Alicia brings out a potential alienation from the technologies that surround us and whose use punctuates our daily lives.
What could be more liberating than subverting their pragmatic use to question the illusion that they are the agent.
TEXT BY ANNE-CLAIRE SIMON FOR THE EXHIBITION “ENTRE-DEUX”
2023
Alicia Rina's work pushes the limits of the digital image through different media (photography, scanning, projection, photography, etc.).
If at first she focused on the subject that was most intimate to her: her own body (with a renewed study around her face, the concept of the selfie, but also videos showing her body in action), for several years she has been developing a research that extends into space (with interiors, landscapes) and nature (and especially flowers). An intellectual introspection tinged with creative affinities such as cinema, photography, painting, architecture but also nature, the body and in a more abstract way, time and space.
The common thread of his work consists of an exploration of the materiality of the image through games of transparency, construction, cut-outs, collages and all sorts of experiments which give dimension to a traditionally two-dimensional support.
A graduate of the Beaux-Arts de Paris, Alicia Rina designs her own
mechanisms that allow her to animate her photographic and video work like an illusionist. She therefore does not use any editing software. Her works thus follow an approach reminiscent of a film script. The image is the product of long hours of testing, trials, and staging. This research is an integral part of the artistic approach. To do this, the artist focuses her research on the play of light, the interplay between movement and time (with the recurring idea of an in-between that defines her artistic universe) and the integration of the artist's Franco-Japanese cultural heritage.
In her most recent works, Alicia Rina explores the possibilities of scanning. She combines the digital world with still life, with subjects developed around transformed flowers, immortalized in their harmonious distortions. She then places this new nature in space, adding, in this experiment with transparency, reflections of interiors with clean lines.
The result is a sophisticated staging, worked to the extreme, yet composing an iconography that appears so pure, so peaceful and perfectly mastered.
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TEXT BY ANNE-CLAIRE SIMON FOR THE EXHIBITION “ENTRE-DEUX”
2023
Alicia Rina's work pushes the limits of the digital image through different media (photography, scanning, projection, photography, etc.).
If at first she focused on the subject that was most intimate to her: her own body (with a renewed study around her face, the concept of the selfie, but also videos showing her body in action), for several years she has been developing a research that extends into space (with interiors, landscapes) and nature (and especially flowers). An intellectual introspection tinged with creative affinities such as cinema, photography, painting, architecture but also nature, the body and in a more abstract way, time and space.
The common thread of his work consists of an exploration of the materiality of the image through games of transparency, construction, cut-outs, collages and all sorts of experiments which give dimension to a traditionally two-dimensional support.
A graduate of the Beaux-Arts de Paris, Alicia Rina designs her own
mechanisms that allow her to animate her photographic and video work like an illusionist. She therefore does not use any editing software. Her works thus follow an approach reminiscent of a film script. The image is the product of long hours of testing, trials, and staging. This research is an integral part of the artistic approach. To do this, the artist focuses her research on the play of light, the interplay between movement and time (with the recurring idea of an in-between that defines her artistic universe) and the integration of the artist's Franco-Japanese cultural heritage.
In her most recent works, Alicia Rina explores the possibilities of scanning. She combines the digital world with still life, with subjects developed around transformed flowers, immortalized in their harmonious distortions. She then places this new nature in space, adding, in this experiment with transparency, reflections of interiors with clean lines.
The result is a sophisticated staging, worked to the extreme, yet composing an iconography that appears so pure, so peaceful and perfectly mastered.
Alicia Rina's work pushes the limits of the digital image through different media (photography, scanning, projection, photography, etc.).
If at first she focused on the subject that was most intimate to her: her own body (with a renewed study around her face, the concept of the selfie, but also videos showing her body in action), for several years she has been developing a research that extends into space (with interiors, landscapes) and nature (and especially flowers). An intellectual introspection tinged with creative affinities such as cinema, photography, painting, architecture but also nature, the body and in a more abstract way, time and space.
The common thread of his work consists of an exploration of the materiality of the image through games of transparency, construction, cut-outs, collages and all sorts of experiments which give dimension to a traditionally two-dimensional support.
A graduate of the Beaux-Arts de Paris, Alicia Rina designs her own
mechanisms that allow her to animate her photographic and video work like an illusionist. She therefore does not use any editing software. Her works thus follow an approach reminiscent of a film script. The image is the product of long hours of testing, trials, and staging. This research is an integral part of the artistic approach. To do this, the artist focuses her research on the play of light, the interplay between movement and time (with the recurring idea of an in-between that defines her artistic universe) and the integration of the artist's Franco-Japanese cultural heritage.
In her most recent works, Alicia Rina explores the possibilities of scanning. She combines the digital world with still life, with subjects developed around transformed flowers, immortalized in their harmonious distortions. She then places this new nature in space, adding, in this experiment with transparency, reflections of interiors with clean lines.
The result is a sophisticated staging, worked to the extreme, yet composing an iconography that appears so pure, so peaceful and perfectly mastered.
