My work’s most decisive contribution lies in its affirmation that perception is in itself a complete and sufficient work of art.
This independence from the new media allows me to deal with all the stages of contemporary artistic thinking by applying a strategy that operates not only on form but also on the concept itself.
I use sites, corporeal or social, as fields for sociological and psychological experimentation.
The piece of work is a dialogue between what can be seen but dims as soon as it is seen through the picture transfers, and the unseen which outlasts through the colours and threads of the embroidery.
This is how I view the works that I have created with and for social groups, which consist in a collective action or include a written inscription. Writing in this context destabilizes the aesthetic aspects of the work and reinforces the work as an event.
Writing provides a warning ; it signals, specifying and insisting on signification. It controls meaning.
Les Cahiers du Channel, n°16
"I do not paint being, I paint passage", wrote Montaigne. Parodying the Aquitaine author who painted with his pen, Denise Sabourin becomes the master of passage, a revealer surely, and perhaps an initiator.
Geneviève Calatayud, Art historian
translated by Andrew Hales and Ysé Dalgrant