The Artist • Manda's biography
Thirty years ago, MANDA, western painter, discovered Japan. Her frequent stays in the country allows her to develop a style eager to differenciate itself from the traditional western and academic representation of an expression which, sadly too often, tells the "collisions" between the artist and the outer world.
She first vows a cult to the great masters of Bunjinga (the well-read painters) from the 18th Century. She is then taught the "art of the stroke" by Japanese Masters, and gets to know the mysteries of Haiga, composition where painted elements and calligraphed signs of a Haiku (17-syllable Japanese poem), from a same brush, introduce the very notion of time...
"a worldwide wantering itinerary"
Soon encouraged by her masters, pleased by her aptitude to seize the quintessence of the Japanese "poetry-painting", MANDA improves along the wantering itineray of her exibits accross the planet. In Japan, obviously (more than twelve exhibitions up today), but also in the United States of America, in Germany, in Switzerland, in Monaco, and more recently, in France.
As she travels many times abroad, MANDA feels the need to share, during her exibitions in France, the derision, the humor, the refinement and the quietening down that the essence (Haïshu) of the Japanese poetry-painting (Haiga) offers.
"a contemporary interpretation"
One can admire the classical repetoire "flower, birds, wind and moon", contemporarily reinterpreted by MANDA. The illustrations find themselves allusive, poetic additions to the writing of a text whose calligraphed elements (kanji and kana) interrogate space, play on the aesthetic of emptiness and offer a spatial and thematic resonance.
Artworks, produced on a gold-framed support (shikishi), represent a tribute to the Great Japanese Masters of haiku, who MANDA worships. She gladly admits to share a common unlimited interest for the mysteries of seasons and the nostalgic feeling of solitude.
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