Cercles by Fabienne Verdier
Fabienne Verdier: Flux
“I enter the surface of the canvas almost explosively.”
About Verdier’s work:
“Verdier paints on sheets of paper or canvases spread out on the floor. Her painting is vertical, playing with gravity, the weight of the paintbrush, the load of the ink and her body. Suspended between heaven and earth, the paintbrush is guided by spirit and hand, its handle at times hanging from over 10 meters of rope and held in place by a pair of bicycle handlebars. Her physical engagement is key: together with preparatory ascetic practice and “suchness” (the path of spontaneous expression), it forms the basis of Verdier’s work. Beyond this spontaneity of the stroke, the ink flow is also guided in producing the work, in particular in her very large formats. Verdier thus disengages from the rules of Chinese painting: she can go on. add to and rework the matter until she finds just the right form.”
Alberto Giacometti, The Artist’s Mother (1950). MoMA, NYC.
Oil on canvas, 35 3/8 x 24” (89.9 x 61 cm)
“It was always disappointing to see that what I could really master in terms of form boiled down to so little.”—Alberto Giacometti
Gilles Balmet (b.1979, France)
Born in La Tronche, currently lives and works in Paris and Grenoble, Gilles Balmet is painter, drawer, filmmaker and photographer. He’s been recently focusing on works on paper and canvas, between abstraction and figuration, questionning the notion of landscape, the role of the viewer in image analysis, the notions of mastering and serendipity, of order and chaos, and the links between painting and photography. The series Silver mountains, a balance between abstraction and representations of landscapes, combines drawing, painting, chemical and physical reactions from opposite matters, movements and varied manipulations on papers.
[more Gilles Balmet]
War Cut II -1/50
War Cut II -2/50
War Cut II -3/50
selected covers from War Cut II, a special edition of the artist’s book
War Cut showing details from Abstract Painting
Edition details: 50 copies signed, dated and numbered in Roman numerals in graphite pencil on the endpaper, also numbered in Roman numerals in felt-tip pen on the penultimate page; oil paint on book cover applied with squeegee by Richter.
you can see all of the covers on the WAR CUT microsite
oil paintings from the blind series (from top to bottom)
tears / free / hope / reality
The Miaz Brothers’ Blurry Painting Portraits
When you first look at the paintings by the Miaz brothers, it doesn’t seem like there is much to see. A blurry collection of colors forming an incoherent image. Everything seems far away and out of focus. But something draws you to look closer, perhaps the fact that you can’t immediately comprehend the paintings when you see them. Their lack of detail demands additional attention, and you find yourself scanning them again and again as you put together the larger picture. Colors and patterns begin to stand out, and details slowly emerge. That demand for closer inspection draws you in, and makes you closely examine a painting, that at first glance, seems almost empty.
Artist Winston Chmielinski - “A thought about paintings: potentially their backsides remain the same so that everything else can change, in full sight, chaotically, unabashedly honest in metaphor and biography–this brush stroke is how I’ve lived my life, one might say–inciting the Painted to proclaim its inverse existence, like a face with all its sensory orifices projecting instead of taking in, or a still-life commanding you to stand still and be seen”.
Black Painting Nº 8, by Mark Rothko, 1964
These works mark a complete break with his colour field paintings of the 1950s, not only for their radically different deployment of colour. At first glance, these paintings may appear solid black. However, prolonged contemplation reveals the slow build-up of the surface through multiple layers and the close attention Rothko paid to gradations in tone and texture.
Rather than annihilating colour and light, the Black-Form paintings appear almost luminous as their surfaces absorb and reflect light. The paintings invite the viewer to look more closely, introducing an element of duration and physical self-awareness into the process of perception.
Spanish artist Fernando Vicente painted on map sheets to compose this elegant series entitled “Atlas.”
CLAUDIU CÂNDEA’S ANATOMIES EXPOSED IN THE LIVING 1
We’ve all seen photographs of cadavers with the skin pulled back to see the anatomy or accidentally clicked on a medical tv show and see a birthing video but Claudiu Cândea’s beautifully drawn and incredibly grotesque drawings depict this in the figures of young girls, beautiful (and very alive) ladies laying about casually with their skin pulled back to reveal every muscle, vein, and organ. Disturbing? Yes. gorgeous artwork? Absolutely!