Artist born in 1976, lives and works in Paris.
At the start of Cyprien Chabert's postulate, there is the materialization by the drawing of an architectural thought. In this quest for volume, the artist has a habit of investing urban spaces to deploy plant designs. Outgrowths hatch on its walls and beyond, felt gardens embrace the surfaces of its architecture. The collision between two distinct vocabularies, that of the manufactured and that of the living, questions the very notion of landscape.
It allows the emergence of various questions, such as the slippery balance between design, architecture and ornament.
Islands and Seas (2021), a series of cartographic sculptures showing the reliefs
of several utopian islands, pursues a reflection that the artist has been carrying out for ten years. Cyprien Chabert introduces the idea of a stone-landscape as an aesthetic object. The work represents architectural islands, reduced to their most rudimentary expressions, white and plaster reliefs with clean shapes. Placed on wooden trays, the islands recall
the shapes of suisekis, stones naturally polished by water, acclaimed in Japan for their expressive textures and the meditative virtues attributed to them. The distorted scales of Islands and Seas play on the confusion of perception. The work functions as a cartographic portrait of another world, a series of miniature archipelagos that we tread on with our giant steps.
It can be read like the illustration of a traveller's story, possibly that of Gulliver from the pen of Jonathan Swift or that of Axel Lidenbrock in a novel by Jules Vernes. Transplanted as heroes of the imaginary worlds of adventure novels, explorers of the coasts of a fictional flying island, here we are called to explore its phantasmagorical coasts; caught up in the curving landscape of its stony forests.
As an extension of Islands and Seas, his series of drawings represents both maps of distant islands, and variations of satellite maps crossed by a white spectrum, taking on the character of ghost islands. The works resemble encyclopaedic plates, borrowing a classical language from academic drawing. They are also close to engraving, the one found in old books or parchments. The works thus close this dialogue begun with the literary adventure, letting dawn a treasure island where the real mixes with the fantastic.
OPEN GALERIE II
12.10 - 16.12.2023
Artist born in 1976, lives and works in Paris.
At the start of Cyprien Chabert's postulate, there is the materialization by the drawing of an architectural thought. In this quest for volume, the artist has a habit of investing urban spaces to deploy plant designs. Outgrowths hatch on its walls and beyond, felt gardens embrace the surfaces of its architecture. The collision between two distinct vocabularies, that of the manufactured and that of the living, questions the very notion of landscape.
It allows the emergence of various questions, such as the slippery balance between design, architecture and ornament.
Islands and Seas (2021), a series of cartographic sculptures showing the reliefs
of several utopian islands, pursues a reflection that the artist has been carrying out for ten years. Cyprien Chabert introduces the idea of a stone-landscape as an aesthetic object. The work represents architectural islands, reduced to their most rudimentary expressions, white and plaster reliefs with clean shapes. Placed on wooden trays, the islands recall
the shapes of suisekis, stones naturally polished by water, acclaimed in Japan for their expressive textures and the meditative virtues attributed to them. The distorted scales of Islands and Seas play on the confusion of perception. The work functions as a cartographic portrait of another world, a series of miniature archipelagos that we tread on with our giant steps.
It can be read like the illustration of a traveller's story, possibly that of Gulliver from the pen of Jonathan Swift or that of Axel Lidenbrock in a novel by Jules Vernes. Transplanted as heroes of the imaginary worlds of adventure novels, explorers of the coasts of a fictional flying island, here we are called to explore its phantasmagorical coasts; caught up in the curving landscape of its stony forests.
As an extension of Islands and Seas, his series of drawings represents both maps of distant islands, and variations of satellite maps crossed by a white spectrum, taking on the character of ghost islands. The works resemble encyclopaedic plates, borrowing a classical language from academic drawing. They are also close to engraving, the one found in old books or parchments. The works thus close this dialogue begun with the literary adventure, letting dawn a treasure island where the real mixes with the fantastic.
Artist born in 1970, lives and works in Nîmes.
Guillaume Moschini's painting is unique in that it approaches volume through flat tints. Colored traces unfold on large cotton canvases and on blocks of raw paper, covering their entire surface or almost. They intersect, sometimes collide, producing the illusion of a movement introduced into the static object. Here a block stands out, there another pitches, on the point of unhooking itself from the board. This tension causes the tasty impression that behind the suspended symmetry of the colored forms, there is an open horizon, a disorder in the apparent order. However, the subject is nothing other than colour, alternately organic and mineral, it reigns supreme over the forms – reduced to simple flat tints. Trained at the School of Fine Arts in Nîmes where he followed the notable teaching of Claude Viallat, Guillaume Moschini inscribes his work in the filiation of artistic currents from different horizons, such as minimalism, abstract expressionism or the Supports movement /Surfaces. If these multiple heritages are immediately called upon, it is to situate the importance he gives to painting as an autonomous object. She represents nothing but herself.
Guillaume Moschini has this desire to capture the expression of “pure color”. That of capturing the internal strength of pigments, with a single watchword: painting paint. Freed from any objective context, it leaves the viewer free to project their intuitions onto it. It does not illustrate nature, but can evoke the oscillations of the rock, the possible mutations of the mineral, its slow growth and decay. To succeed in producing this effect, the artist uses notions specific to the field of music: repetition, rhythm and vibration. In each series, he declines with a barely utterable gesture forms and primary colors, showing the successive balance of their hues and their depths. Don't we say that painting vibrates, that it reveals the invisible? If we give in to this idea, all of his work reveals the internal trembling of color. She looks at herself and listens to herself like a muffled ballet of mineral colors.