Gallery: Art Supermarket
Opening / Event Date: 8 May, 2019
Closing / End Date: 24 Aug, 2019
Gaël Davrinche, b. 1971, Paris
Gaël Davrinche is a French artist born in Saint-Mande in 1971 and works in Montreuil. After graduating from the Ecole Nationale Supérieure des Beaux-Arts in Paris, he works mainly in painting.
The artist’s first flower series named “Memento Mori”, examines the circle of life – from
decay to rebirth – nature evoking one state to another. In this more recent series, Gaël Davrinche reinvestigates this subject through new angles. The variety of shapes and colours of the flowers are a pretext for paintings and an optical game of material.
Nebulae is inspired by American artist Cy Twombly’s unrecognised photographic artworks. These artworks by Cy Twombly showed bouquets of blurred flowers in close up . This deliberate effect allows a distance from the subject and leaves a greater freedom for interpretation. The relation to the work is more sensitive and poetic than reasonable. The pictures draw towards a strange abstraction that invites contemplation. By dissolving the object with blurring technique , Gaël Davrinche solicits the imagination and holds the gaze of the spectator. The artist also continues his permanent reflection on time, matter and colour.
The Nocturnes series is inspired by the tradition of the floral still life in the Flemish paintings of the 17th century. The paintings reproduce the traditional codes of chiaroscuro and offer from the outset an amazing contrast between the realism of the rendering of brilliant flowers and the black background that materialise spaces more conducive to mystery. The accents of light add to the preciousness of these compositions where the flowers resemble real jewels of nature. Symbolically, it is also a matter of recalling the ephemeral and fragile nature of existence. The term Nocturnes evokes, on the one hand, night, a temporality linked to the dream, an era of the poetic and the sensible, and on the other hand, it translates a classical musical form of Romanticism.
Émeric Chantier, b. 1986, Montreuil, France
French artist Émeric Chantier invites us to heighten our awareness and imagination through his animal and human and botanical sculptures. . Through his extensive study in his unique media the artist practices sculpting human, animal and botanical forms to investigate nature and humanity.
An immobile figure, appearing as if it is a living being, embodied with soul, sitting peacefully in the Sieza position, unpacks Chantier’s investigation into ancient Japanese culture. The figure displays the characteristics of a both femininity and masculinity.
Courtesy and Apology are the two specific values held is the highest regard in Japanese culture that the Seiza position illustrates and upholds through its practice. Émeric Chantier’s recent work produced during an artist in residency for the Biwako Biennale 2018, articulates the mea culpas ever present in humanity. The symbiosis applied by the artist instigates an emphasis of introspective feeling, a perception any gracious man or woman must feel in relation to the future of nature.
A body of 10 new works selected for this exhibition extend Émeric Chantier’s study of Asian culture. Imitation Jingdezhen Chinese blue and white and Old Imari (Ko-Imari) style Japanese porcelain vases endeavour to house the synthetic and organic, botanical constructs, unable to contain these expanding natural form. The artist’s creations enrapture the essence of nature’s boundless energy. In time, nature evolves overpowering human creation. Chinese elm trees [Bonsai] play the role of Mother Nature, organic forms breaking through the vessel created by humanity for her.
With these creations, the artist considers the history handed to us, a narrative of both China and Japan, two nations that have been mastering the art of making various forms of earthenware since pre-dynastic times. To this day these art forms hold an important place in Asian culture and have greatly influenced European pottery.
Émeric Chantier deconstructs porcelain vases as representation of industrialisation. Human’s, artistic creations, cracked, overwhelmed and fragmented by an unstoppable force. At the turn of the 20th century, the Japanese and Chinese industrial [and later technological] revolutions would also pay significant influence towards Western industries. Industrialism is without question, humanities most significant creation and the greatest catalyst to climate change.