“Hey over there, the man scarred with stars, where are you running?” asked Tzara.
It is not so much on the result, but on the creative pathway that Julie Hauer dwells through her artistic work on the quest for luminous spheres, radiant colours and sparkling heavenly bodies.
Her work spans space and time, drawing on a quasi abstraction of metaphysical tones, landscapes of a spiritual dimension and the representation of open spaces, juggling between depth and emptiness.
Julie Hauer explores the intrinsic qualities of colour, wanting to lend to her work the idea of being enveloped in an atmospheric sphere that is at once impalpable, yet omnipresent. The artist has opted for a non-mimetic biomorph. In effect, in her desire to be as direct as possible, by taking the tableau for a living organism, she grants pre-eminence to colour, which represents one’s feelings most easily. The radiance and plane of the work create unenclosed and living spaces, which in no way reveal an ambition to reproduce the artist’s environment.
Julie Hauer’s fascination for the contours and indeterminate scale of aerial space is transposed onto the canvas. Often, the centre of the tableau is little more than a black or coloured void, a luminous window where we can, on the one hand, become aware of microcosms or, on the other hand, lose ourselves in a macrocosm. The choice of visual experience is left to the viewer, able to be projected into the universe of the minuscule; the world of bacteria, right through to the interstellar distances of space, this immense suspended void.
Stripping it down, attention to detail and luminosity become the major challenges in Julie Hauer’s creative process. Abstraction embodies the conquest of essence, that which brings together beings, ideas and landscapes in unity. At the heart of the nature of these landscapes, the artist must harness the increasing vibrations of an experience sensitive to the real and translate them onto canvas.
Her movements across the canvas resemble that of sweeping, operating with the alternating between full and empty. The material takes form before it dries. The absence of premeditation on form and motion accentuates the importance of the present movement, the speed of execution, a second state of concentration; namely the spontaneity of the creative act, running contrary to a structural dynamic.
Walnut stain, pigment, oil, water, acrylic, solvents, the earth and inks mix freely on the canvas placed on the ground. Some materials reject each other, others contract or explode in chemical and aleatory reactions. Humidity in the air, the wind, the texture of the floor on which the canvas rests all determine the path the material initially takes. Thus, new forms and colours guide the artist, each motion determining the next. The canvas is in a process of gradual discovery and the painting unfolds like a chain of unexpected sequences until its completion.