The Isabelle Gounod gallery is pleased to present a selection of pantings from the artists Martin
Bruneau, Jérémy Liron, Maude Maris, Aurore Pallet and Michaële-Andréa Schatt, including, for the first time, Pierre Aghaikian and Audrey Matt Aubert.
The exhibition showcases the gesture of the painter, their commitment to the canvas; whose mystery lies in the gap that they invariably create between subject and object. This gesture, which upsets the comfortable distance from which we are accustomed to looking at the world, reinterprets the very material of reality, of which painting manages to display in all its density.
The paintings of Pierre Aghaikian offer an uncompromising representation of our time, to which the artist has attached particular themes of sexuality, the manufacturing of icons and musical or indeed clothing cultures, portraying the violence at the end of hand to hand combat between body and canvas.
In contrast to this violence, the paintings of Audrey Matt Aubert, of which the vocabulary is based on the repetition of a set of tool-signs (cross, twist, etc.), transformed into pictorial construction modules, composed of undefined spaces, uninhabited and silent, following a number of rules enforced by the artist (limited number of colours, impasto, drips, etc.).
The Meal of Martin Bruneau allows us to truly take part in the painting, as was the artist's design, makes round trips between figuration and abstraction: spectators and guests at the same time, we are invited to a dinner with friends whose tumult supposedly finds its counterpoint in the silence of the still life which the painting imposes.
If the peri-urban landscapes of Jérémy Liron seem inhabited by this same silence, it is because the artist seeks to express persistence, following the mechanisms of memory: it is about "bringing out a form, a sign that, with a reversal of the gaze, we can stare as we stared long ago at the world in its familiar opacity, " says the artist. Here time seems to be suspended and the subject, fragmented, is delivered as a dull tone.
The result of a creative process that advance in stages (the objects represented are first moulded in plaster, assembled in composition and then photographed before being reproduced), the paintings of Maude Maris play with scales and deploy a singular universe where strange constructions stand suspended in the intermediary and surreal space of the canvas, in a controlled gesture, stretching the paint over the surface of the canvas with a certain relish.
The series of fossil Advertisements by Aurore Pallet - medium glazed - lets the suffused places of mystery and dark and the immersive spaces born of the random motion of the mental images of the artist surface, whose reality is irrelevant and which opens to interior spaces with uncertain shores.
Michaële-Andréa Schatt for her part plays with profusion to alter identification, alternating order and disorder, density and transparency, and encouraging glimpes, beyond a great energy, of the true joy of painting. Tiring of the desire for the detour strategy, here the artist breaks down figures and landscapes into scattered signs that are recreated on the canvas, resulting from previous impressions, the body of the painter engages with these monumental formats called "pockets".
