Emil Même

Where are you now?

Artist´s Statement

I was here by saying it´s personal, but should be looking at what´s behind the figure, since I make art to the desire to live forever. Beautiful becomes an experience of real time. So that´s full of sadness.

My interest in communicating the very questions of time has me adopted biological and organic processes: emotion. To address the ordinary the best ideas tend to become stories and their parallel problems clear the boundary between reality and that of the image I paint. I tend to stretch an idea as far as it can go and you won´t find it always hanging at home over the couch comfortably numb. Don´t trust me the expression of the differences I pick, the intensity and passion of it. The works often continue constantly to uphold information and endlessly we are interested in to make it and unmake it at the same time.

To think, to construct the works and I want people to feel and to probe psychological narrative elements. I am interested in the paradox. Work should be pleasure. My paintings are not at all realistic as being derived more from within the head than from what is out there in the open. That freedom of consciousness and space that can be altered, exchanged or interchanged is not weighing me down and that includes the aesthetic side.

Not everything can be controlled. To enjoy the obvious I want to build it from an image I love, tough applied to a special place or special set of concepts.

I am more curious about this statement and talking Art has to be to me and my ideas, what an excuse is basically. For it was different from everything I decided to make, therefore it exists. We will have the objects we live behind; there are all kinds of rules and limitations, in what is already a kind of accessible and slightly irreverent at the same time reality. Talking about definition of performance as reality must be noticeable for its foulness, which implies distance and exclusion. Take an object, energy is eternal and reflects the way things are to be derived from trying to break the problem without depending on an intellectual system for support.

As a sign of independence I am trying to articulate what juxtaposition of the body of art is into an environment, the whole ethos of painting. I think what´s happening is still part of the whole exclusion process, as the result or a by-product of day-to-day real life distance from the actual image. Of the impossible and the possible as having a double life I guess what I am interested in is the quality already deep inside you. There is certainly a kind of multiplication of the exactly the very conscious ideas with the events and the surroundings of the aspect of arbitrary reaction and tradition-conscious medium.

To create an atmospheric experience that could be true to be exhibited, to question preconceived ideas, undiminished – a paradigm for to be a self, where process is an object to deal with and a process – I wish I were innocent about it. Things to relate accommodate in so far as they always involve the present. The consequences, even the idea of the past is a temporary one, in conflict with one’s own work. I can be totally involved in my doings and I always try to kind of exaggerate the work to act like notions of ambiguity and disorientation that´s so liberating - including the moment of deception.

uestions
The Form of Time
Yes Emotion No
Banal.

hne Titel
though, Stories
Extremism
Seduction
Image
to Stretch it
Find it In
Always
In Front
of The Differences
Homless
That I Feel
Is Too
Simply by the fact
on it much more
be traded
replicated
recuperating
adds up to nothing
as mirrors
as soon as they´re done
Drenched in
psycological narrative.

n the power
over the facts being at all realistic
of that freedom
notion of space and
Any structure
not weighing
serious, and that
obvious organisation
to get their kicks
mentioning the obvious,
in a sense
going to pop
art, but
set off
deeply obsessed
about leaving a mark
or diaristic
behind something
is a potential
make
boils down to the desire to live.

s beautiful
experience of real time
so that it`s
curious about the way
statement is a
ritually separated
Untitled
to me,
create my ideas
be the excuse
in the flood of connections.

verything is
decided to make
therefore it
will have a real
objects we leave behind
all kinds of rules and limitations
futuristic
situations where there is already
accessible and slightly irrelevant
what you set out to
appropriation, fiction, representation
noticeable for
which implies distance
an object
can touch
a seductive emptiness
aware of
perfectly constructed
differences between
as a sign of
to articulate what probably
is a strange juxtaposition
of the body
of things.

ust be!
a window into deep
and cutting to size
to do with
why the representation of
or a leftover of speciffic
Untitled
been the connections or correlations
to bring forth
the interplay of the impossible
create and present
I guess what
is already deep
no certainty
a kind of
it promotes
exactly where it ends
and to stage aspects
to combine
what
to the arbitrariness to broaden
an atmospheric mix
for sensual perceptions
that could be true
of the nude
its edge
their preconceived ideas
undiminished.

lso a paradigm for
to be
where
process is
innocent
otherwise be unrelated
in as far as
to have
the idea of the past
ends up
a desire for unity, fusion
irony
totaly involved in
a sort of indifference in
and
surprises
invisible
for its purpose
I don´t understand
so that that becomes a part of
a crash
to draw inwards
and disorientation
that´s so liberating
including the moment of deception.

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The Chapters

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When all is said and done, more is said than done.

Emil Même can be described as a painter but also as a set designer. His creations usually stand inside a spatial context within which he presents diverse references to film, music, science and to literature using fragile constructions of line, color and shapes. At first glance these mostly figure driven paintings are reminiscent of the symbolism of the 19th century, but Emil Même. extending on his long career as a studio and news photographer is asking questions pertinent to contemporary psychological narrative elements within the medium instead.