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Beyond Horizon

Galerie Karsten Greve Paris

Reflexion on the horizontal line
July 4 - August 29, 2015
Thomas Brummett, Louise Bourgeois, Jeff Colson, Leiko Ikemura, Mimmo Jodice, Yiorgos Kordakis, Catherine Lee, Maria Nepomuceno, Norbert Prangenberg, Qiu Shihua, Georgia Russell, Peter Schmersal, Joel Shapiro, Pierre Soulages & Luise Unger
« La ligne d’horizon du paysage n’est que la manifestation exemplaire d’une structure plus générale  et qui régit aussi bien la perception des choses dans l’espace que la conscience intime du temps et le rapport à autrui. » (Michel Collot)
Pierrette Bloch (b. 1928) has, from the start, played on nearly imperceptible variations of tone and rhythm. Her abstract work is made from cheap materials and simple shapes that are essentially focalized on space, time and movement. Her works on paper include designs and collages created through torn pieces of paper, layered and marked with Chinese ink stains - that she finishes with small touches in repetitive and random spots.
Louise Bourgeois (1911-2010) engraves when the spider weaves, sculpts stomachs, gullets, intestines and other organs. French sculptor and visual artist, naturalized American, she sees the body as cell container of pleasurable or painful sensations.
Thomas Brummett (b. 1955) examines the phenomenon of nature by addressing the subject in different ways and by varying the artistic and technical possibilities of its representation. His approach to photography is totally anti-traditional, whether the prints are made in the darkroom or through digital reproduction.
Jeff Colson (b. 1957) uses disparate materials to create forms that evoke familiar objects. At the crossroads of Pop Art and Conceptual Art, his work reveals a sharp dichotomy between obsessive energy and the deceptively simple. The viewer is challenged to reassess the channels that transmit information and to contemplate the manner in which the message often overshadows the mode of communication.
Leiko Ikemura (b. 1951) of Japanese origin, has lived for more than forty years in Europe and combines, particularly in her approach to landscape, this double culture. Her mixture of tempera and oil allows the rough surface of the canvas to be revealed in transparency and features hybrid creatures in atmospheric compositions as well as open and permeable spaces.
Mimmo Jodice (b. 1934) revives and causes to vibrate archaeological fragments, antique skies, faces and bodies living in the reality of marble and mosaic and at the same time, brings forth as though lost in a timeless abstraction, landscapes full of mysterious glimmers.
Yiorgos Kordakis (b. 1973) likes to present the world from the sky, through the clouds. The Global Summer series seeks to emphasize how men are alike and have similar needs. At the same time, these diverse images, carried out in countries as diverse as the US, India and the countries of Europe, highlight the differences in behaviour related to places and environments in which people evolve.
Catherine Lee (b. 1950) works with metal, bronze, ceramic and glass that she treats in a very specific way. Intimate or monumental, the forms created in these traditional materials are uncluttered. The fascinating presence in space of these "abstract objects", which might evoke archaic artefacts such as arrowheads as well as natural elements, are here represented through her work on paper.
Maria Nepomuceno (b. 1976) spreads sculptures resembling creepers over the ground, that also proliferate over the walls, invading all available supports. The artist recycles elements of our everyday life - sisal rope, nylon or string and beads of different colours. These objects of our daily lives assert themselves in her works of art, despite their symbolic value and beyond it, to finally become the body itself.
Robert Polidori (b. 1951) Always melancholic, whether majestic or in decline, the architecture photographed by Polidori speaks of those who have inhabited these dispossessed rooms and spaces. The past comes back all the time, invoked by a detail, a composition or perspective. The life of the place comes up to the surface and plunges the viewer into a story that is both personal and historic.
Norbert Prangenberg (b. 1949) developed an artistic language that fits into the composition of graphic elements largely influenced by "years of contemplation of nature." Here, as in the sculptural work, a certain "idea of ​​nature ', intuitive and organic, accentuated by the use of pigments and watercolour is evident in the very typical and familiar geometric shapes.
Qiu Shihua (b. 1940) is fascinated by the revelatory power of the world around us and the way we see it. Dazzled by the neon lights of contemporary everyday life, at first glance the eye of the observer only sees in his works a tone, that of the fibres making up the canvasses. Then, gradually, as in any awareness, traits of the scenes are revealed, more or less slowly according to our own willingness to wait and observe.
Georgia Russell (b. 1974) offers new life to objects she selects: it is most often books, photographs or musical scores that she cuts with a scalpel. The artist slices the paper as others wield a brush; from these incisions with a scalpel, works full of poetry and pleasure are born. Between nature and culture, water and skin, ink and paper, it is the movement that harmonizes: the pace, the breathing and physiological punctuation created by these incisions evokes a biological rhythm that brings the form to life.
Peter Schmersal (b. 1952) Still life, landscapes, architecture and portraits that capture the attention of the painter, find their strength in the development process of painting. When he talks about the objects that attract him, for their texture, their materiality or the link that unites them to himself, Peter Schmersal says: "I want to somehow get rid of the object through painting." The object in itself is not the subject, but rather observation and the act of painting, in a spiritual as much as a sensual manner.
Joel Shapiro’s (b. 1941) work comes in various techniques and materials: his corpus consists of drawings, sculptures in bronze, cast iron, plaster, clay and wood. Moulded on pieces of wood, bronze keeps all the details of the previously worked material: the veins and other irregularities are frozen in the metal, witnesses to a vitality that thus remains visible.
Pierre Soulages (b. 1919) conceives his monumental paintings based on a triple principle of reciprocity including the author, the work itself and the viewer. They draw their strength from the reflexivity of light in contact with the "surface states" of the colour black. Ridges and furrows provide depth and relief to monochromatic ensembles and contribute to extremely varied light castings.
Luise Unger’s (b. 1956) early works were mainly installations. In her "black period" the artist combined steel and wood with cotton and fluid materials, also using steel objects she always further refined in her installations to arrive at a new technique of crochet

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