STEVIE DIX ‘Beside ourselves’ @chloesalgado Paris Through October 23rd Anchored in a hazy realism and marked by a mute expressivity, Stevie Dix's early works offered numerous ways of presenting herself to the world. Like the wedged boots, both subject and object, treading on a fogged over post-industrial asphalt in The nearer the ground, the louder it sounds, her first exhibition at the GALERIE CHLOE SALGADO in spring 2020. The quest for the self, for a self, appeared to be closely linked to a logic of distinction: how to create a singularity from the cultural fragments present. Distinction, then, in the sense of the uses that consumer-producers make of mass consumption goods, inventing their own personal « tactics »1 for reappropriating the goods, spaces and signs that are imposed on them. For Stevie Dix, accessories, clothing and other everyday objects through which individuals perform the quest for a role in the public spotlight have never simply served as a metonymic referent. Indeed, there is the question of the adolescent quest to define oneself: troubled and violent, introspective and flamboyant, the one that eludes language by belching with spurts of impasto on the canvas. But it is also about a deeper ontological quest, and the pictorial negotiation of spaces and of appearance themselves. The logic of the fragment, the close-up and repetition coupled with the absence of the human figure as well as the monofocal perspective had until now constituted the painter's preferred procedures. These reflect the loss of anchorage in a world where collective horizons evade and centres elude – the « abstract spaces »2 of a world reduced to its flatness, framed by the circulation of capital… Text by Ingrid Luquet-Gad Translation by Katia Porro #steviedix #chloesalgado #contemporaryart #painting #paris (en GALERIE CHLOE SALGADO) https://www.instagram.com/p/Ci5NS1hIuLc/?igshid=NGJjMDIxMWI=