Mythe

« I unfold above the heads of humans. I devour the sun every evening and give it back every morning.
At the holy hours I return to you, through your windows and sighs in a shower of gold.
Initiating the earthlings to save the soil suffering from dryness of heart and body.
Influencing again and again the benevolence of the rains, fertilising the soils, the seas and the rivers. I am the woman who walks and walks on. »
(selected fragment) ©Dorothée Wycart

This triptych is inspired by a fragment of one of my writing-poetic texts, it is the imaginary representation of a positive deity Ishtar Inanna, a Mesopotamian goddess of Semitic origin. She is generally known for three main aspects: she is the goddess of love, of sexuality, but above all she is a warrior goddess and an astral deity (the planet Venus). As a major goddess, she also plays the role of a sovereign deity, bestowing royalty. Another salient feature of her ‘personality’ is her ability to combine opposites and even to cause their inversion, to break the forbidden. More broadly, her symbolic role, with her affirmation as the principal goddess of Mesopotamia, is to be a woman, to embody the image of a feminine that is often free of all male tutelage, thus the opposite of the norm in a patriarchal society.
The de-Venir being the driving force of my multidisciplinary artistic research, I propose a form of triptych narrative that takes the spectator into a singular world that explores the strange cosmogony. It is this spellbinding, magical journey that I want to share with the viewer, to make him discover my intuitions and to lead him on an inner journey…

This triptych is in a way the feminine counterpart of the myth of the fire thief, Prometheus, a metaphor for the contribution of knowledge to mankind. For in this pivotal period when the future is uncertain, Prometheus is appealing in its contemporaneity.
Like Prometheus, Ishtar reminds us that in the face of the stagnation of immobility, in the face of the illusory comfort that everything could « work as before », the worst risk to take is not to steal fire. In a desire for anti-conformism, my female figures have the function of making the public aware of the central theme of our freedoms because « to choose is to be free but it is also to renounce ».
Through a tight composition, pivoting around the female figure, this triptych defines my work well. We find my plastic preoccupations quite close to the symbolist current, a current which likes to reactivate ancient myths and especially which mixes mystery, fascination in front of the power of the female figure.
On the plastic level I used the photographic medium, the gold drops are virtual as well as the textures, a visual approach to the rendering of paint. The concept is to instil a sense of confusion in the viewer. Is it a painting?
Is it a photograph? I am a painter using the photographic medium, my plastic research is to make digital paintings, this allows me to create new relationships of perception.