“My work is interested in the processes by which information accumulates and is transformed – in juxtaposition with other information.”
Nancy Wilson-Pajic’s arrival in France in 1978 marked a break with her artistic practice. An avant-garde artist, until then she had mainly used photography for documentary purposes, to keep a record of her ephemeral works, especially installations and performances. This use of the medium has led her to question the notion of representation and the relationship between the content and materiality of the image, between the subject and the photographic object. “My work is interested in the processes by which information accumulates and is transformed – in juxtaposition with other information”, she explains. A visual artist if ever there was one, Nancy Wilson-Pajic has never ceased to embrace the pictorial possibilities of the medium through experimentation. From the 1980s onwards, she reactivated old processes at a time when they were completely forgotten and of no interest to anyone: carbon prints, gum bichromate prints, cyanotypes, etc. She brought these printing processes to the forefront of the art world. She uses these printing processes to interpret the world. For example, when she opted for gum bichromate for the “Le Cirque” series, it was because “the material quality of the print adds an effect of remoteness to the image, corresponding to the idea of the memory of a distant and inaccessible past”. When she takes up the photogram, which she explores in particular with clothes, her own or those of Christian Lacroix, she does so with a view to tackling the notions of presence and absence. In this way, beyond the aesthetic and technical dimensions of her work, Nancy Wilson-Pajic opens the doors to an imaginary world where the space-time dimension no longer holds sway, beyond the visible and the palpable.
by Sophie BernardRead Biography