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The painted work of Virginie Houdet does not fail to surprise us, especially since "she" appears to participate in what has been called “Modern Art,” and not “Contemporary Art,” without ever submitting obediently to “Modernism.”
If this body of paintings evokes a certain relationship with the pictorial investigations of the early 20th century — and most specifically Cubism, we must recognize that something more creates a difference: an awareness of a particular innocence that has the sincerity and candor that marks the true artistic creation.
Beauty, we must not forget, often marries Simplicity.
Here, without a doubt, is a perfectly rendered synthesis between Figuration and Abstraction that, for once, does not shy away from the decorative impulse, as Virginie Houdet has stated, and, can bring forth from the work a feeling of tranquility.
Painting, a gift to the world, brings into its gaze those objects habituated to silence — “natures-mortes” which the Northern countries prefer to call “Still Lives”! — as well as the "point blanc” which gives life, so precious to the Surrealist André Breton. Themes, such as the Red Palaces, the delicate hand that descends to caress the flowers lost in their secret dreams; all this describes the tender empathy between the painter and her subject.
Full and complete adherence to a goal that we may call “Fruition,” full sensual engagement.
Frontal representation, often perpendicular, and a clear preference for muted color palettes, contrary to expectations, serves to miraculously awaken the senses.
The painted works of Virginie Houdet, at this moment when many disparage the Still Life as out-of-date, reveal in their sincere and simple impulses, shall we say it once again, its own truth, that truth which also our own.

Patrick Zeyen april 2015