Anne-Sarah Le Meur

With Immatière, Anne-Sarah Le Meur pursues a fundamental inquiry into colour as a sensory and philosophical experience. Whereas her previous exhibitions explored luminous vibrations in all their chromatic intensity, this third series makes a daring choice: that of withdrawal, of the dark ground, of light that slips away. The photographic prints presented here derive from an entirely digital and generative process — computer code becomes the brush of a painting in perpetual becoming.

Alongside the prints, two real-time generative works reveal what printing freezes: a black stain that appears and disappears, elusive, sometimes crossed by a coloured flame. This duality between the fixed and the moving, between matter and the immaterial, lies at the heart of Anne-Sarah Le Meur’s approach. Trained in mathematics as much as in the visual arts, she conceives her works as autonomous systems capable of generating an infinity of states. Immatière is thus a meditation on the absolute — not as a fixed ideal, but as a horizon forever receding, forever within reach of the gaze.

Immàtière, Anne-Sarah Le Meur’s third exhibition at Galerie Charlot, makes the bold and sober choice to focus on a black light-matter. Dense, vibrant, dark yet warm, the obscurity, having become substance, draws the eye. The gaze searches it and settles within it for a duration unique to each viewer. Alongside the prints, two generative works are presented: in them the black stain ceaselessly appears and disappears, elusive. Colour takes up more space at certain moments, and sometimes bursts into flame.

The quest for the absolute that Anne-Sarah Le Meur pursues in computer language propels us into the depths of colour and matter. Through the narrative abstraction of her work, our mind wanders through the meanders of hues, to the sensual rhythm of organic forms with circular, pleated, moiré effects. Infinite movements, in which colours brush against, caress, embrace, divide or merge... like bodies transcended by emotion, oscillating between violence and tenderness, compel us to contemplate.

Heir to a pictorial culture — Soulages, Rothko — and to other experimental artists such as Turrell or Brakhage, combined with a passion for Beckett, this approach questions the interval — or the union — between painting and computer-generated imagery, where colour stands for presence and minimalism means a light touch.