Beat­rice Coron is an artist whose work was in Slash:Paper Under the Knife. Her work is mon­u­men­tal to, say the least. It also really ben­e­fits from light and space, and a viewer that can devote ample time to study­ing the idio­syn­crasies and mul­ti­ple nar­ra­tives that are present in each of her works.

Beat­rice is clearly a story teller, her sil­hou­ettes her lan­guage. Her cut outs are extremely detailed, and show mul­ti­ple sto­ries and nar­ra­tives that all exist together. They are in a paper uni­verse that is one coher­ent string of dif­fer­ent char­ac­ters, with lit­tle inter­ac­tion between the fig­ures she has resid­ing the same work. That’s an inter­est­ing aspect to Beatrice’s work, and one that I find com­pelling. Her work reminds me of look­ing into an ant farm. We can see what’s going on, top to the bot­tom, side to side. The char­ac­ters seem to dwell and bur­row into the black ty-vek, and we have no idea of their iden­tity or per­son­al­ity. It’s all based upon the push and pull of neg­a­tive space.

I have been enjoy­ing her series Invis­i­ble Cities, based on the book of the same name by Italo Calvino.

All images via her web­site.