LONDRES
Since graduating as a journalist, Natacha Horn's never-ending mission has been to seek natural ways of giving expression to her emotions.
Brimming over with the exuberance of a creative spirit and voluntarily being led astray by her versatile capabilities within the twists and turns of the world of art with a big A. Determined to reflect her avowed and disavowed feelings whatever the cost. To project them spontaneously onto a canvas or onto a screen.
Natacha follows her lifeline, a curved line, at times broken, scarcely ever straight, leading her precise hand into the dream-like world of childhood, re-digested by the vitality of myriad cultural influences.
The strokes chase after each other on the screen in continuous motion, putting us, astounded, onto the false scent of an ingenuous temperament that has reached an advanced stage of maturity. Natacha is a sworn enemy of any hostility to change and narrow-mindedness, not really concerned with any medium nor the techniques she excels in. A relentless self-taught person, mingling night and day, seasons and leap years, she points us towards our struggle to grasp the essential, idealism as a code of conduct, surrealism as an outmoded conclusion. The outcome is an extraordinarily fresh intermingling of discourses, an inexhaustible source of optimistic responses, a child that is born anew every second, discovering life with a fearless approach. People in this world who have failed to understand the power exercised by self-expression can never hope to attain the happiness this femme-enfant evokes, at the borderline of poetry and the cartoon, the figurative and abstract, the innocent gesture, that which, fortunately, does not pass through the right cerebral hemisphere.
Phil VanDuynen
Pas d'entreprise renseignée
Pas de formation renseignée
