She works matter, oil paint, pure pigments, gold and aluminum powder, and collage.
The construction is vigorous; the forms are simple, almost archaic.
Curves and undulations rhythm, organize and stabilize the space.
The impression is that of an opposite between expression of rational thought and structure, border, limit and the inside feelings expressed which emerge and irradiate the canvas. Some canvasses present themselves as pairs, trilogies quartets, series that tell a story or evoke a past event buried in memory.
To answer her monomaniac contemplations, Kardesh adopts different languages partly to express herself partly to enrich her personal quest, a spiritual path far from political dilemmas.
When we watching her curves like ribbons of black steel, we think of Pierre Soulages, but whose canvases would not tend to saturation. One can also think of Bernar Venet, but Kardesch introduces movement to the very heart of his paintings (Bernar Venet only suggests it with his sculptures of steel) and it does it doubly: for example, one of his paintings figures the trajectory Unforeseen tennis ball. On the other hand, her paintings are often integrated in sets (the "puzzles"), and the different paintings "composing" these puzzles can (must?) change place and orientation at the will of the purchaser to compose another set quite different from the first ...
The construction is vigorous; the forms are simple, almost archaic.
Curves and undulations rhythm, organize and stabilize the space.
The impression is that of an opposite between expression of rational thought and structure, border, limit and the inside feelings expressed which emerge and irradiate the canvas. Some canvasses present themselves as pairs, trilogies quartets, series that tell a story or evoke a past event buried in memory.
To answer her monomaniac contemplations, Kardesh adopts different languages partly to express herself partly to enrich her personal quest, a spiritual path far from political dilemmas.
When we watching her curves like ribbons of black steel, we think of Pierre Soulages, but whose canvases would not tend to saturation. One can also think of Bernar Venet, but Kardesch introduces movement to the very heart of his paintings (Bernar Venet only suggests it with his sculptures of steel) and it does it doubly: for example, one of his paintings figures the trajectory Unforeseen tennis ball. On the other hand, her paintings are often integrated in sets (the "puzzles"), and the different paintings "composing" these puzzles can (must?) change place and orientation at the will of the purchaser to compose another set quite different from the first ...