Anne Bachelier is a pure surrealist, Bretonnian in the philological sense of the term. Her surrealism is purely theoretical because even though her art spouses in toto “wonder, dream, madness” as in her manifesto, she’s able to transform it, at some point, in flesh and blood. Bachelier invites those who are about to observe her work to join what she calls ‘thought- beings’ in “a perpetual ritual of revelation and transformation”.
Almost thought-forms of theosophical memory, the subjects of her very personal ritual in paintings communicate (just as claimed by Besant and Leadbeater*) through space, form and colors, the energies given by the index of vitality vibration that pervades every canvas. There is something sacred in Anne’s works and she, almost a priestess of her art, guides us through the veil of a sacred temple to the Painting goddess celebrating her Mystery. As in any temple, Time and Space are suspended, the atmosphere became gloomy and rarefied, viewer witnesses the unfolding of a cathartic and almost dreamlike drama, while before the eyes unfolds an intangible and ethereal world beyond the curtain of Reason that is at once powerful, quiet and protective.
Her paintings are visions of which, as the Artist declared, she creates a reportage sincerely believing to be only the vehicle and not the genesis of her work. She recently pinned on her blog, about her art and commented on some sketches:
“Quand je laisse aller
le crayon sur le carnet de croquis…
Peintures en devenir?? Peut être.”
A triplet that contains, if not all of her method, at least a bit of her magic.
Her characters embody everlasting archetypes, living in all of us, engaged in matters of great importance, and on a large scale. Anne Bachelier’s visions capture the macabre with grandeur, power and compelling beauty. Although her work has been respectfully compared to those of Goya, Moreau, Magritte and Fini, we must recognize that Anne has undeniably produced an enchanted artistic cosmos and completely his own. Mythological and fantastic creatures alternate with witches and fairies in an eternal dance of transmutation and regeneration that enchants us with perpetual metamorphosis and transitions that give movement to images. For more than twenty-five years she has imprisoned dreams on canvas, to the point that she deserved by the international magazine Gallery & Studio the nickname “enchanting Shahrazād of Art”.
* Note: “Thought Forms”, Annie Besant – Charles Webster Leadbeater , first ed. 1905
More images: chateaudebelcastel.com