Superdemocracy – The Senate of Things
In the mid-90s, Marthe Wéry developed ‘new ways’ of painting, in order to use the potentialities of the surface of the painting; a radical period is followed by a more colourful but always rigorous period, in which some older preoccupations (architecture, luminosity, etc.) were expressed differently. This is the case of the open series Calais, begun in 1995 and prematurely ended at the death of the artist, made of a vast installation of MDF panels, covered with a sky blue, ranging from a dark blue grey to a very refreshing blue-white, which can be reconfigured according to the space of exposure. The ensemble is what we call today a ‘variable media’, that is to say a sort of plastic score (in the musical sense of the term) that must be reinterpreted at each presentation. Like any musical interpretation, presentation is the subject of a distinct appreciation of the work.