The gesture, the moving is the emanation of an interior dash.

I paint according to nature, stretches of water and reefs, running water and passages between rocks, waterfalls and the audacity of chasm.

Gesture expresses intimate time instantaneously and its impregnation of natural observed forms.

With Brigitte Pazot, we get the impression that our senses are permanently aroused, in wait for any kind of life likely to arouse an emotion. Tracking down these emotions of the moment in order to transcribe them on a web, such is Brigitte Pazot’s fundamental approach. It is like a thirst for freedom of condition where existential anxiety is like canalized, broken by this adhesion to the present moment lived in all availability. The latter is felt like vital by Brigitte Pazot as it is the privileged means to try to achieve this harmony of things that seems to be the supreme aim of Brigitte Pazot.

Maybe this is the reason why she (nearly always) has chosen abstraction to express this search for harmony. My painting is interior movement stated Brigitte Pazot. It is this movement that she painted with intensity on her watercolours, a dangerous search as this movement absolutely must carry on towards the outside.

Painting most of the time on motive – rape fields of the Vexin, Verdon gorge, etc. –, Brigitte Pazot does more than transforming these natural landscapes: she transfigures them by giving them a real vibratory impulsion. More than an engagement in soul-searching, landscape then becomes an instant of life crossed by these vibrations expressed by colours and rhythms harmony. A poem sometimes comes with watercolour:

Earth, fire and winter sun, concentrated wind that upsets conventions, trust in an infinite instant, restraint and transgression, transformation too. She is also a poet. But where and who will stop Brigitte Pazot? Probably nothing nor nobody. At least as long as she does not have exhausted the field of possibles, a field that opens to her as if it opened on the infinite.

Islets constituted within the ocean of shapes.

Without any doubt, the practice of aikido as a dance of energies does influence Brigitte Pazot’s expression. Painting is abstract. It is expressed by volutes with straightforward shades, sharp red, purple, intense blue... they give an impression of fluidity, density and freedom.

Always looking for the warmth of material, even within dark textures, her watercolours convey light. As for her engravings with mineral colours, they reveal the perfect command of the artist and her sense of taste for reefs, for erected columns that get their strength from deep memories, for islets constituted within the ocean of shapes.

Her whole work testifies of her ultra-sensitive perception of the nature where she gets her inspiration from. I trust my senses explains the one who often paints on the bank of streams. I contemplate the movement of water that always opens up by sliding on stones, moving round the rocks, all by playing with light glows…

There, Brigitte Pazot listens to the nature of things, reconnecting the direct listening with [her] heart. Thus she welcomes, in all availability, the rich range of emotions offered to life.

The pleasure of contemplating Brigitte Pazot’s painting comes from a whirl in which time and colours roll up. This vibrant alchemy agrees with the place that preserves and amplifies it. Just as a precious source of harmony between impalpable worlds that we however feel living into us.

From this source wells a river, firstly coiled between unseizable rocks, which then spreads beyond the web, thus disturbing some dimensions inherent to the void.

Thus the stone under swirls takes life and starts contemplating us.