From 28th March to 1st November – Between iron and paper
The sculptor Christine Cloos works with iron and paper whilst inverting their substances, that is, iron becomes fluid and paper heavy.
Paper becomes living material, both massive and heavy whereas iron is held suspended between a play on fullness and emptyness, on shadow and light.
‘I paint what I feel – my aim is not to paint a landscape as it really appears but rather the emotion it has brought about and which I am trying to retrieve.’
‘When I begin a collage, I let my intuition go – the imprint in me made by a landscape, a light, a season, a blade of grass, a feeling – without the help of reasoning. I allow for spontaneity. And I make use of accidents, the effects of the material that happen by chance and little by little, patiently, I redirect everything towards this initial idea glimpsed in an intuitive way but which is always the unifying thread. In the end, it is a balance between impulse and self-control.’
‘The Tree: the Tree sends down roots, draws strength, reaches upwards, tracing powerful, vigorous lines, branches living through the presence of a single leaf, but also dead branches, cut, hewn, trees struck down, recumbent, a return to the Nourishing Earth. Between Sky and Earth.’
From vegetal – vegetus, vigorous – the branch and its last leaf suspended to the dead wood, soaring in one last leap before its final plunge against the dying trunk, often represented in the same bas-relief.
The branch’s calligraphic form within the contours of a frame illustrates the limits of both life’s impulse and the energy contained in the way the branch is represented.’
From the intense exploration of my garden each new day to the landscapes encountered during my travels. From the last twig swept onto my doorstep to the strong forms of century-old trees. Everything is gesture, everything is a line and everything is energy.
From 28th March to 1st November – AL BRIEU is presenting both his own bronze creations as well as those of PATI and MALDAGUE – 06 10 77 75 80 04 – 02 32 21 08 66
Despite the fact that these artists are distinctly traditional and endeavour to express timelessness when they roll up their sleeves to create something, what is actually felt in their work is the spirit of the times, that ‘je ne sais quoi’ which makes it possible to put a date on a work of art. With their grain of sand they modestly contribute to building the ‘edifice’.
‘The way in which people were buying massive quantities of soap in Europe in 1939 was just as much a sigh of their anxiety as it was of their idea of stocking up: they were providing against the lack which a declaration of war would brutally impose.
In our present day which event could push a man to stock up in bars of soap made out of bronze unless he was a gunner? An imminent end to the world? Absurd. Hearing that God was being brainwashed by the tears of the human race? Hardly.
Poetry alone – and only radical poetry at that – may confidently offer transience as a gift.
The line of bronze cosmetics created by AL BRIEU roughly amounts to the last rites which accompany the impulse of life as it encounters that which threatens it. Thus may the force of these cubes (of bronze soap) be explained: the link between what is covered by the psyche and that which dissolves in cold water and only abdicates at a high temperature; allowing this mixture of caustic soda and grease mutated into molten copper and tin to have merchant value which contains a truth and a sudden revelation is what is known as enlightenment or satori in Japan.
Their stamps point to it (the Notre Dame de Crèvecœur, the conquering longship, the patient bee…): these soaps of bronze have a weighing purpose. But to weigh what? Their own metamorphosis? To weigh everyday objects, bargaining chips, peanuts, Charon’s obol, objets from Mars? To weirdly gauge the accuracy itself of the curse of the scales? They are both mystery and a ball of gum arabic!
The first time my eyes set sight on them , I knew that the strange metal soap was capable of ousting that panic fear from which humanity has been suffering ever since it took its first swim out of the sea.’
PATI – A sculptor from Nice. What she is exhibiting in Giverny is a bestiary which is never really academic, sometimes hieratic but always with the hint of an intonation which bestows upon the animal an attitude or a character in the same way created by Buffon or de la Fontaine.
– Galerie Rouge Ephémère, Hong Kong
– Galerie Art et Collection, Colmar
– Espace 87, Giverny
87, rue Claude Monet 27620 Giverny
Tél : 02 32 51 05 80 – 06 20 74 20 35
email@example.com – www.christinecloos.com