|Art on Lake in Budapest Photograph by Stefan van Drake (2011)|
A frightened golden horse rears out of the water, a huge arrow tip pierces the surface of City Park Lake in Budapest, a golden male figure faces the plush greenery of nearby shore as if to warn as a classical baroque female figure motions to him.
|"Theatrical Production on Water" installation by Anne & Patrick Poirier|
The French art duo joined 24 other European sculptors in a unique presentation of a contemporary marine sculpture garden, Art on Lake.
Art on Lake opened 22 May and closes 4 September.
“The work evokes the fallibility and fragility of cultures and civilizations, and contrasts this with the aggression of our age, making a metaphor of time where the past and the future are melded together,” Art on Lake´s catalogue, which the Museum of Fine Arts Budapest released this month, stated.
The Porriers, married and working together for more than 40 years, own many art dimensions but one common mantra:
“We believe that memory and the knowledge of cultures is the basis of all understandings between people and between societies; that ignorance or the destruction of cultural memory brings in its wake every sort of oblivion, falsehood, and excess; that hate and violence between peoples, intolerance in all its terrible forms, all begin with ignorance and the voluntary destruction of memory;
“We believe, too, that in the contemporary world, the destruction of both cultural memory and nature has quickened; and that we must, with all the modest means at our disposal, oppose this generalized amnesia and destruction.”
|Female and Male Figures, "Theatrical Production on Water" by Anne & Patrick Poirier|
Their works are threaded with concepts of decay, ruins, archeology and disintegration.
“Fictitious archaeology is perhaps an apt phrase to indicate the character of their works,” according to earlier Art on Lake literature.
Highly traveled, the pair relies on photography as a starting point in much of their work:
“Photography was, and still is, one of our constant techniques. It allows us to fix the memory of a gaze one poses upon things, a gaze which intends to be objective and documentary, but which we transform - through coloring and other techniques - into totally subjective images.
“Thus we attempt to restore our own experience, our own subjective vision.”
|"Spanish Life Stilled," photograph by Stefan van Drake (2009)|