Atelier Arcay, Paris
Nicolas Chardon - Claude Closky - Thomas Lélu - Dimitri Mallet - François Morellet - Camilia Oliveira - Franck Scurti - Elsa Werth
But we can no longer stop there and confine this unique work to the privileged few.
On the contrary! We must work from it, recreate it in other functions, multiply it and project it into the world.
Arcay and re-creation by Vasarely In Art d’aujourd’hui, 1957
Thomas Lélu
Between voyeurism and sublimation, monochrome paint here both disfigures and sublimates the press image, transformed into an icon.
Camila Oliveira Fairclough
Painting is always both an image of something and of itself. It tells and shows itself through a subject. I chose the palette (which I never use), as a motif that symbolizes this return of an action (painting) upon itself. There’s irony in this choice, but also seriousness: it’s a way of exposing what’s going on, but without heroism. It’s a way of exposing what’s going on, but without heroism. But since I don’t use a palette, it’s a false image in a sense, but true, since the painting shows what it is and how it was made in a fairly straightforward way. The shapes of the painted palettes are close to the real palettes you’d find in a fine art store.
It’s also a way of using a painting subject, a fetish, a pop motif, sometimes reminiscent of other shapes (pizza, target, pokman…), a bit like a game.
Camila Oliveira Fairclough, 6 septembre 2021
Claude Closky
This quadriptych challenges the authority of the image and the rhetoric of its exhibition. Composed of the same silkscreen repeated 4 times and presented in 4 opposite orientations. By alternating horizontality and verticality, up and down, left and right, we follow the order of things to better disrupt it. Moving forward and going in circles are equivalent.
Dimitri Mallet
can we remember what we see with our eyes closed in Sous les paupières, by Valérie Labayle, 2017.
Elsa Werth
Combining endgame phrases with disembodied abstract grids is a way of reinventing the geometric patterns that occur in art history.
Franck Scurti
In fact, the terrace of the Café de Flore is a bit like the French art scene: everyone’s in their place and everyone’s looking at each other, but no one really sees each other.
in Sept à Sept , Éditions Jannink, Paris, 2005.
François Morellet
Random distribution of 40,000 squares following the odd and even numbers of a telephone directory, 50% orange, 50% green.
Nicolas Chardon
The intoxication of the wave …
