Cache-Misère

Facing the observer, an acrylic fresco. A common practice that Sofia Boubolis gets from her childhood, when she was painting the walls of her house. This fresco is inscribed in the space as it was discovered by the artist, a residue from a construction site. The painted sign, already there for the previous exhibition (it has nearly not moved), becomes the image that conceals the works to reveal what needs to be seen : the inside of a room, a large patterned sheet, a painting, dried flowers, the edge of a lamp, a post-it. The composition comes within the scope of still life and refers more particularly to the series The Interiors (1992) of pop art artist Roy Lichtenstein (1923-1997) inspired by banal domestic environments of advertisements.

The painted elements on the wall are all foregrounds and backgrounds that are a part of the excellent illusion of the trompe l’œil, wink to yesterday’s vanities. The eye, even hazier than the represented inside, is also inscribed in another inside, the one of the window, which components form other foregrounds and backgrounds. The frame explodes at the same time as the separation between the 2D and 3 D image, the outside and the inside, the false and the real.

Overall, Sofia Boubolis’ work stands on the edge of painting and drawing, on a porous border between abstraction and figuration. Landscapes play a crucial role. Be they terrestrial or celestial, enclosed or infinite, they contain a multitude of moments, real or ghostly, and possible interpretations of which the artist enjoys evoking the shapes in these works.