TWISTREE

NDAVAPO POIETIC ART

Nous sommes un couple de peintres sculpteurs Nathalie DUVEAU et Fanuel FISH et nous serions heureux de vous présenter nos compositions communes ou singulières, les peintures expriment un art brut et reflètent notre subjective perception de notre exil en Afrique du Sud, nous combinons éléments recyclés et les outils conformes aux Beaux-Arts, huiles, pastels, acryliques.

Nos sculptures résultent de notre travail en résidence artistique au Zimbabwe ; les pierres utilisées varient, de la jade a la serpentine. Nous tentons de défendre une approche instantanée, spontanée de cette perception que nous ne maîtrisons mais qui se révèle dans ce contexte présent; la naissance de cette esthétique est soumise cependant a notre recherche poïétique, l’émergente création.

L 'utilisation de Twsitree, de la misère a la simplicité, Twisted -tree, concevons par la le pluralisme avilissant dans lequel nous sommes jetés au sens métaphysique du terme, témoigne de notre volonté de mettre en avant le questionnement existentiel de notre contemporanéité autour des thèmes, identité, altérité, authenticité, ce dans une démarche poïétique, ou le présent de L’ ETRE-LA- création, soit le NDAVAPO.

Ainsi, nous pluralisons les événements poïétiques au nombre de nos productions artistiques.Quelques processus poïétiques essentiels émergent de cette exploration du champ et du regard. La conceptualisation de ces processus est certainement essentielle pour développer un corpus théorique propre a la poïétique. L'idée centrale est de mettre en valeur les processus qui sont actifs dans la création et qui sont utiles pour comprendre les situations de recherche sur la perception. Ils doivent également permettre de rendre efficaces les situations d'accompagnement humain ( voir interventions dans les écoles et sessions adultes art et philosophie) :

- L’ arbre est mis en lien au contenant de la mise en œuvre percevante.
- L’ image de l’arbre twisté, articulé a la cristallisation est aussi mis en lien comme étant le processus de transformation de déconstruction-construction actif dans l'œuvre perceptive.
- La nomination de l’arbre perçu est l'étude de la dynamique de symbolisation a l'œuvre dans la poïétique. Symbolisation qui passe par l'œuvre et par les processus de pensée de l'accompagnant de création. L’arbre cet arbre, Twisted-Tree, nous tentons son relief dans nos productions, exprimant notre singularité dans ce monde, au pied duquel nous chercherions a échanger notre vision artistique dans notre présent sans prétention de classification, sans chasser un pour dire l'un meilleur, mais pour échanger de notre héritage, de notre hymne a l 'humaine humanité. Il est une note a considérer, notre travail est puissamment lié a l 'état-émotion, ainsi chaque toile ou sculpture ou écrit, relate son histoire : dans le contexte de ce bout d 'Afrique, qui a une revendication intérieure, nous sommes plongés dans une contradiction permanente - la , toute vérité est évanescente, la flamme de recherche nous fustige et cet appel commence notre interrogation plastique relative au processus poïétique.

Nous ne cherchons pas cependant la totale intellectualisation mais une pénétration intuitive, par l’événement poïétique toujours dans le work in process, lié a ce pays, a son architecture, a son histoire, a son expression lyrique, a son pathétique au sens grec du terme, et a sa philosophie très intéressante, la philosophie ubuntu.Nathalie DUVEAU et Fanuel FISH

Notre vision :

Ouvrir L’institut Poïétique a Cape Town, Afrique du Sud

Notre Mission :
Développer des ateliers selon les arts et savoirs poïétisés , des résidences, et expositions.
Nous sommes a la recherche de sponsors, vous pouvez nous contacter a cet email, twistree@yahoo.com

QUELQUES MOTS EN ANGLAIS
The poïetic event
The notion of "poïetic" brings back home of the future, and the future of tomorrow. It evokes the idea immediately to waited events, considered asprobable and possible upstream from the moment of the creation. Our search indexes notable links of the possibilities in plastic African arts.Here, in the occurrence, we index links of " other possibilities", containedalternatives in "borders" and / or " out of borders" .

The question of the possibilities is not really or only accessible in a readingstricto sensus, and linear, of the African history which is seeing arts in anisolation.We should put in parallel the possibilities, most certainly material withwhat exists already, and who does and gives the object of a severalstudies. Particularly to put this art there, in addition to arts andartistic possible creations, - possible in process of hatching or in way ofdevelopment, budded possible but non still visible or lightly visible- ;so, thepossible possibilities or the possible perspectives of poietic.

Our gait classifies the contained perspectives in due form more innovating and more hybrid. Forms of sights set themselves apart or can set one apart partiallyor in totality, in out-go a beaten tracks .In this reading, it is equally to designate, born of possibilities crossingsand meetings, notably cross-breedings, mixings and hybridities which flow .The plastic African field doesn’t list or shuts up again on itself, it will not be the only limited object of our study or our practise because we are conducted to hold counts of the general context which permits to measure, todesignate it, and to sense it in all its differences and specificities.

In " African territories ", when we berth, we are noting it of perspectives. The question of plastic phenomena is already visible, perceptible andindexed; somehow , we can deal with plastic forms which are not necessarily invented or invented all over again, instead of entering on an inventory, or holding its account or recognizing as forms of arts, plastic forms aside entire.

With regard to recognitions plastic forms which are not entered in schemata or have not still penetrated its " bank " paradigmatic of the official African cultures, one can be saying that they are remaining in the margin or are debarred. Their exclusion does not condemn them yet to the death.They live in parallel, without disappearing. The poietic question in African arts, shares the problematic of what makes some exclusions of a certain art form. Their recognition, buzzes in this understanding.

The look has trended to a normal African society: in other terms, the dignitaries of the right-thinking society spoke about official tribal art. This point of view places the POIETIC perspectives, not at all, relative toa general situation, but in reference to tribal arts. Sucking of this tribal art evokes the arts dignitaries’ situation that has been liked better and has been put forward.

This projection on the African art flows the triumphant attitude of the western reading of the art history. This one has, until a recent epoch, - with his hazardous periodisation inAntiquity, middle Ages, modern Age- presented solely a recognized art by the western right-thinking society and no antagonistic.One shows the totalled manner " the art of ancient Greece " or of Middle ageswithout loitering on the slaves art that there was in Greece, neither on theart debar from Middle ages (sorceresses heretics). In Europe, some historical manuals of Art- until the 20 century - werecelebrating the official tolerated art. The history spoke only aboutbig events and charismatic personages.

This imperialist vision breaks down every efficient possibility to invent another way to see. The point of view is all important the more as it goes further. Moreover we defend the marginal arts and debar the traditional arts: we target a new development not with the general comfort developing the ancient African art supervised by a single person.We know that it was not being always the case. Can we compare the ancient borders and form them to considered arts as margin present-day and of tomorrow? Is there continuity, or the changing context has it broken? When we speak margin ancients and margin present-day and of tomorrow, are we in the logical poïétic and philosophical which brings beings to passbeyond perpetually their present to go towards other and different horizons? Beyond diverse forms and established differentiations in arts, itremains an immutable fact: the  society always produces a culture of thefringe and, in those borders, debar them elaborate strategies of overflowing.

Borders are then seen as "places" of overflowing and of surpassing. Poietic perspectives can flow the " other " possibilities, which are or can bethe activities and all artistic objects; then, the existence was constituting a counterpoint and a wrong-note in this African society. More the contained norms in all figures which pass beyond forms of arts sayofficial, more the normal triumphalism levels one way to judge. Accordingly, it sounds difficult to legitimate between the acknowledge and the action, a work on the de-construction of the datas and a work to re-generate from our own interiority.

Now, our researcher is based on a similar internal journey with our different artistic languages, debating about the dialectic measurement of the brutal borders of yesterday and our present-day borders. The problem resides that African arts are seen under the banner of tribal control, mercantile, mythological and religious state. It is not constricted, but it maybe come out of this vision, toCut with the representation of the homologue characters of African Art. Each artistic representation is referred to a place, and from this one, one can comprise an art object.Inversely, to comprise a place, one can depart of the art object.It comes an interaction and a reciprocal lighting between the representation and places of pegging.

The question, we ask is of knowledge: How does it occur when an artistic activity searches his impossibilitythrough a no true bill (utopia)? How to adopt close to the creators of African origin creative boundless gaits, open-plan , neither boundaries ? To evoke the idea of perspective and notably the perspectives of future, supposes that we were perceiving different ways or roads or highways possible in the access plastic African fields, or plastic universal fields.Those fields are splited, limitless and illimitable. Our preoccupation is to know the nature of the plastic forms which goes beyond its field of classification ; forms which go further afield , and much more far what plastic past forms and stood or stimulated ones in the present time in Africa.

At this point our target is to legitimate a spontaneous approach of the present time of the art creation. So, all our art pieces introduce the debate of the state of ART, here in Southern Africa and by extension all the underground Art creations.That is why our art workshops will reconsider that ability to feel the naked mind into the open way to express the in to the out. At that moment you should deal with the requirements of the non-knowing, and accept the way to enter in the life flow which drives you to the poietic delay.The free gesture designs our creative perspective and forward legitimates the honour sense of Art in that continuum of space-time.

For us, the figure is the meeting of that totally u-topic –no land/no time- logic made with the flesh of the words (poetry), of the stones (sculptures), of the colours( paintings), of our symbolic machine: us, human beings. Sorry, when will the event of humanity take place in that world?
OUR VISION/TO BUILD THE POIETIC INSTITUTE
OUR MISSION/
TO ORGANISE DIFFERENT ART and PHILOSOPHY WORKSHOPS for a large public, and with schools, hospitals, companies or emerging artists, WITH THE POIETIC LABORATORY AND A POIETIC ART GALLERYWHERE/ IN SOUTH AFRICA
TO START WE LOOK FOR SPONSORS
FOR MORE INFORMATIONS YOU COULD CONTACT US AT TWISTREE@YAHOO.COM