With FLORILEGES, Tony Soulié delivers his most accomplished pictorial act, the most rebellious, the freest, too, in the shape of a flamboyant and optimistic ode to the inventive strength of the man who can break all the shackles.
He begins by breaking the one of the image that he says “now too full of technology”, a saturation that makes him lose sense. No mistake! The artist does not create a dialogue between photography and painting, but questions the painting, the representation, the emergence of abstraction, the poetry of the in-between. In fact, he searches the wasteland of the image, its distancing, the form never made, the overspray of the painting to let it “shake its colored petals”.
Tony Soulié performs the image as a welcomed murder of the photography. He plays his thriller with scratches, colored drownings, cut-outs within the texture of the image like so many black holes of the matterial and the representation, like so many holes of memory and their beautiful break, a nod to Matisse too.
With his FLORILEGES, the artist slips even behind the image. He begins by tearing off the photographic film to reveal the flesh where he will grow his flowers. If we have known the artist seeking the shape of cities around the world, New York, Hong Kong, Tokyo, Shanghai, his new cartography is Botany, “a daily flowering”.