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Pascal Convert

Keishiki, Portraits (empreintes de rides traduction du japonais), 1993 Diptyque. Plâtre laque rouge et noire sur deux plaques de plâtre. Diptych.

Red and black lacquer on plaster.

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Les Buddhas de Bâmiyan

Pascal Convert . Artiste .

“Située au centre de l'Afghanistan, Bâmiyân est une petite ville qui s'étend d'est en ouest le long d'une falaise faisant face au sud. Cette falaise, faite d’une roche friable, longue d'un kilomètre et demi, a abrité entre le IIIe et le VIIe siècle un monastère bouddhiste qui comptait une population de plus de mille moines. Ce site était un témoignage majeur de l’école d’art gréco-bouddhique du Gandhara. Sur la falaise, à l'intérieur de niches géantes, se dressaient deux statues colossales de Bouddha-debout, l'une de 38 mètres à l'est, l'autre de 55 mètres à l'ouest. Outre ces niches, 750 grottes environ avaient été creusées dont un dixième environ contenaient des peintures murales et des sculptures en argile et que l'on peut désigner sous le terme de grottes sanctuaires. La destruction (ou le vol) des sculptures, des peintures et bas-reliefs sculptés a été systématique.” Pascal Convert

“Located in the middle of Afghanistan, Bâmiyân is a small town spreading from east to west along a south-facing cliff. Between the 3rd and 7th centuries, this cliff, made of a brittle rock, and about one mile in length, housed a Buddhist monastery with a population of more than 1,000 monks. The site was major evidence of the Graeco-Buddhist school of art of the Gandhara kingdom. In the cliff, inside huge niches, stood two colossal statues of Buddha upright, one 38 metres/125 feet to the east, the other 55 metres/180 feet to the west. In addition to those niches, 750 grottoes had been hewn out, 75 of them containing mural paintings and clay sculptures,which can be described as sanctuary grottoes. The destruction (or theft) of sculptures, paintings and sculpted bas-reliefs was systematic.“ Pascal Convert

#pascal convert #artiste #buddha #bamiyan #destruction

Pascal Convert

Ecorce de pierre Empreinte numérique, Khatchkar du Monastère d’Hagphat, Tirage contact platine palladium atelier Laurent Lafolie 85,6 x 171 cm.

http://www.pascalconvert.fr/

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“la falaise et la grotte” les Buddhas de Bamiyan ( Afghanistan)

Pascal Convert . artiste .

Grottes sanctuaires .

“Les Bouddhas géants sculptés de Bâmiyân doivent surtout leur célébrité à leur destruction par les Talibans le 11 mars 2001 suite à un édit condamnant les idoles promulgué par le mollah Omar, qui contrôlait l'Afghanistan depuis 1996.”

“The giant sculpted Buddhas of Bâmiyân owe their fame above all to their destruction by the Taliban on 11 March 2001, in the wake of an edict condemning idols promulgated by Mullah Omar, who had been controlling Afghanistan since 1996.“

Pascal Convert .

#pascal convert #buddha #bamiyan #Afghanistan #artist #photography #destruction

Pascal Convert

Les Buddhas de Bamiyan

“Mémoire malgré tout

Si les Talibans ont cru détruire ces statues géantes, de même qu'à Hiroshima après l’explosion de la bombe atomique, il en reste l’ombre portée.”

“But memories all the same

If the Taliban thought they had destroyed those giant statues, just like Hiroshima after the explosion of the atomic bomb, the shadow cast by them lives on.”

Pascal Convert

#pascal convert #artist #buddha #bamiyan #photography #destruction #memory

Pascal Convert, Le temps du sacré (Voyage à Nantes 2022)

« In Passage Sainte-Croix, the exhibition Le temps du sacré brings together a selection of Pascal Convert’s works illustrating his relationship to time and memory through the prism of the sacred – a notion he deconstructs through a private and political perspective. »

« Echoing his Miroirs des temps project, Convert shows a video documenting the making-of process for his work in Miséricorde cemetery. In it, he makes scale models and fireproof moulds, melts and cools glass, unmoulds and polishes it, while also scouting locations inside the cemetery, finally setting up his work, then having the public discover it. » (x)

i had the chance to see this exhibition back in september 2022 and it was incredible...i was sincerely moved by the way it offered both a perspective on the creative process and a peek into the collective aspect of the work behind convert's different pieces: the way differents mediums, different people met and collaborated together to explore the themes of time and memory, resulting in these ghost-like glass sculptures.

the part of the exhibition focused on armenian sacred art was even heavier, as it tackled the theme of cultural genocide and conveyed those raw feelings of. mourning. to the audience. my great aunt and i were just... quiet as we walked through the passage sainte-croix's different rooms, watched the movie on the making of the glass sculptures and looked at the khatchkars; our day out in town turned into a silent pilgrimage. i am grateful i got to see this and, piously, remember everything.