Landscapes make up Caroline Fançois-Rubino’s pictorial language.
They are always present, outlining space and inviting the eye to wander over it. Her landscapes are not representative or mimetic but far more: they are an interior experience which is part of the never-ending search for a fusion of perception and expression.
The Hinterlands that we can discover in her latest exhibition are landscapes in which, through her painting, we are shown the visual journey to follow with no ready-made roads or tracks. We are invited to travel, to feel like crossing horizons which disappear before our very eyes just when we think we are drawing near, and to realise we can turn round and look back.
Often presented as diptychs, these Hinterlands challenge our eye and visual memory.
Could there be some kind of echo between these different “ways of seeing”?