NOUVO BLUTO by marie linda Bluto

BLUTO WORK WITH ORGANIC MÉDIUM
BODY AND HEARTS

Michel-angel created, in the stone or with the brush, of naked
anchored in their only tangible reality, their flesh. It even
sometimes happens to me to think that its famous frescos of the Sixtine vault had nothing to do with some religious spirit that it is.

And, until proof of the opposite, I like to think that its objective was not émoustiller the spectators. It insufflated with its muscular
men and its cherubs with the buttocks dodues the same size detached as with its piétàs. Size, majesty, solemnity, perfume of eternity. It is of this spirit that Marie Linda Bluteau claims itself humbly.
Michelangelo Buonarroti was its intellectual guide.

For the remainder, in spite of his long and profitable studies in
visual arts, I would tend to say that it is also an unconditional
disciple of Gustave Courbet, one of the most powerful painters and most complex of the 19th century, which insisted on the fact that each artist should be his own professor, because each one of them is nothing more than the talent which emerges from its own inspiration.
In short, it acts here of personal spring, passion, self-confidence, direction of search and need to raise of the challenges.

Bluto - it is the signature of Marie Linda - corresponds perfectly to this design of creation. It would be perhaps also in connection with underlining an additional link between Courbet, passed to the legend, and Bluto, very very alive: a clear propensity to defy the authority and the refusal to be based within a preestablished framework. Yes, it is its own Master. Still in semi-about thirty, it imposed its personal style by devoting much of its time to invent a technique with force of tests and errors. Of course, one will be able to say that the coffee is used in visual arts since many centuries. Oil also, not? But Bluto gave its letters of nobility to the instant coffee which is used as a basis for its tool of predilection. It managed to create jewels of shade and light starting from a mixture of which it makes a point of maintaining the secrecy jealously, and who allows him to completely eliminate the black from his production. A species of elixir also, whose odor is revived sometimes with the wire of the changes of temperature. And the flavour floats! But I must acknowledge that what especially allured me in its step, texture. The naked ones of Bluto often leave the ground seized of dryness after a rain forces some share in sands of the desert. The cracks fascinate sometimes before the subject. Difficult ground and revêche, but however fertilize and feeder.

But what do they thus have, its naked - dominant subjects of
sound?uvre - so that one is carried to make them a special place in the culture of this kind? They are however generally without heads nor legs, like the origin of the world, first naked of a brutal realism painted by Courbet in 1866, which one threw in the hell of invisibility during more than one hundred years. Their truncated bodies do not shock. They, as in the traditional tradition, are centered on the beauty. But their lines, perfect according to current guns', do not decrease the regard of oneself of the spectator, and the spectator especially, who think themselves less cherished by nature. One could say that its males "color coffee" are inspired to him by the man of its life and father of his child. However not. All the naked ones of Bluto are born fundamentally from the same juice of life elected by it: color, odor and savour coffee. And if they have sometimes Michel-Angel in the muscular force, they are modest. They do not have a sex, or rather, it is their morphology which suggests it.

I have the taste to tell here an anecdote which returns the idea well that I have this strong originality of naked of Bluto. It does not give titles to its fabrics, judging that it is with those which acquire them that that falls since, up to a certain point, the tables adopted them. With them thus to baptize them. I returned from the interview and I told stories. I dreamed to be rich, to have the means of setting up a sanctuary in my residence. A part large just what it is necessary to draw up there a furnace bridge in an immense table of 48 by 36 inches whose subject is a naked man folded up on itself, and who had clearly appeared to me only after one long contemplation of texture. Slowly, the naked one had so to speak stripped technique which imprisoned it to release its heart. In my sanctuary, there would be only him and a carpet inspired by any of great civilizations, something of timeless like the table even.

I had, after my dreams, to point out the gallery for a further
information. Meanwhile, there had been within the personnel a stir up-meninx. The artist had accepted that for the occasion of an article in MAGAZIN' ART, one names the tables. "My" naked was entitled Recueillement... It was thus well that, this impression which I had had. These naked has a heart. They are themselves clothing of another thing. The title given in this article is borrowed besides from an exposure solo that Marie Linda Bluteau held in the year 2000 with the Showroom of the house Alphonse-Desjardins, in Quebec: Body and hearts.

Another contrast: Mrs Bluteau, when it pours in the still life,
becomes mother rocking for the tea, comforting it to neglect it as much. With my direction, one of the recurring subjects of its dead nature is the teapot. In insulation, it has the force of the muscles of its men in shade and light. Multiples, they are light like its bodies of women and dance in space coffee.

Word of man, Marie Linda Bluteau is a very beautiful woman. They are so rare, the true russet-red ones with the blue eyes like flashes...Its long plaits and the perfection of its silhouette do not make however forget the strong one, the obstinate one, the curious one, the intellectual one. They do not make especially forget the surviving onein it. I admire the singer Corneille, icon of peace of the heart and which however saw immoler all its family. But to survive is the fact so bellement of of not having had, like Bluto, models also impact strength, simpler? The life of Marie Linda would be worth to be written. But that, as the other would say, it is another history...

Extract of an article, MAGAZIN' ART, volume n° 2, winter 2005.
No 66, 17 ° year ANTOINE TARDIF.