Aki Kuroda by Camille Fallen- Transfiguration, mutation, “mythokurody”

Transfiguration, mutation, “mythokurody” by Camille Fallen, 2002.

The future is coming. Nostalgia, Lontanissimo signal that something has happened, that nothing will be as before: the figures stretch outwards. They leave. Early clues to this are Space Meeting and Space Pieces. Now the future is sealed. That is, unsealed. The passing seasons show the aftermath of a revolution: Ventôse, Pluviôse, Thermidor. The time is over for earthly disasters. In its trajectory, this revolution has gone around the seasons and around the Earth. The earth's orbit is over and the voyage which is announced before or after a new deluge is a spatial, sidereal, cosmic voyage. The Orbite painting bears witness to this new beginning.

From Darkness to Cosmogarden, the expanding web has reached the edge of the universe. It is the measure without measure of this cosmos which is no longer that of the old gods.

A new dimension has opened up in the breach of figures. Stripped, light and naked (so naked that they no longer seem to be so and no longer have sex), they no longer allow themselves to be held back by gravity. Neither time therefore, nor space, nor bodies will obey terrestrial data: from Lake Takara to Cosmogarden, Aki Kuroda will have left Earth.

Born of ecstasy (but is there any other passage, any other door outside oneself, any other possible metamorphosis?), the nudity of the figures, open, perforated on infinity, becomes enigmatic for us. . Like ours. And this is still one of the paradoxes, one of the vivid contradictions of Aki Kuroda's painting: giving us to see nudity as unknown (and also virgin) at the very moment when in ecstasy it gives itself up entire to sight, to moulting, to the naked.

This abandoned figure, both clear and empty, seemed to have renounced the body, anguish, eroticism and death. Is it so sure? Moving away outside of herself into the unknown – transported, naked, exposed – doesn't she approach him as closely as possible?

Who knows the place, the body, the sex, the nudity and the "senses" of ecstasy?

This time, the work took on the dimensions of the universe. She went beyond the frame and the body to join the advance of the cosmos. From now on, both will go together. Aki Kuroda and the cosmos. And the mytho-kurody that was announced can finally come to unfold on the canvas of the cosmos.

Transfiguration, mutation, “mythokurody” by Camille Fallen, 2002