Text about Alison’s work, by Arnaud Laporte, French art critic
The catalogue you are holding is an illusion, as it is often the case. The reproductions of Alison
Bignon’s works that you will discover in there will tell you nothing about her art, unless you have previously physically been in contact with it.
Among the many obvious specificities of this artist’s work, you will notice the extreme precision
of her lines, the infinite delicacy of her embossing, and her obsessive care for the right color.
A theater actress and director, a plastic artist. Categories cannot apply to Alison Bignon; she
neverthe-less sheds a light on her focus on precision by describing herself as an engraver - even though
she lately came back to drawing, which adds to her corpus -. You could take her word for it, since her
science for handling presses or managing inking up testifies for her technical excellence.
However, the true essence of her work lies somewhere else, in what the artist brings to a pluricentenarian me-dium. When looking at a piece from Alison Bignon, you should come and look closer, at the closest, or « take a closer look », you won’t see a thing, as the late Daniel Arasse would have said.
While facing the signs and material of her engravings, the watcher goes on a journey, going
along the petals’ curves, following the paths’ lines. Also underlining, so as to read them, words that
sometimes hide, letter by letter, sometimes expose themselves like poems, inside the very poetic space
of the piece of art, as a mise en abyme of an original vision of the world.
Alison Bignon dedicates her sensitivity to the study of emotions. State like this, you could say
this is the very definition of an artist’s role. But even though this conception is both obvious and essential to me, the times we are living in do not allow much space to sensitivity and emotion as prime
values. It seems that artists are expected to get political, to use their work to fight the consumer society, hyper globalization, or the ecolo-gical disaster; and these are only the most common examples.
But if some artists may consider this warning function as their prerogative, history of art has
always needed creators who question the fundamentals of human soul, who relentlessly scrutinize our
inner storms, who translate into real shapes the ups and downs or our ordinary lives, made of love, joy
Alison Bignon is one of these artists; one of those who cannot heal us, but can ease our pains.
This is what makes her such an outstanding and precious artist.
(French Art Critic and journalist on France Culture Radio)