PRINT October 1985


BERTRAND LAVIER'S WORK IS MARKED by a search for a mixed state in which art becomes both painting and everyday object. While the separate identity and autonomy of each category are maintained and reinforced, they are also amended by the reciprocal dynamic that Lavier establishes between the two modes. All this French artist’s “sculptures” stem from an osmosis between the object as solid and color as fluid. Often, a uniform, loosely brushed thickness of clear or colored paint covers the skin of the object, whether a piano, a mirror, a refrigerator, a window, or a camera, transforming it into a soft, flowing form susceptible to the explorations of touch and both visual and physical pleasure. Subjected to this greasy, slippery, sensuous process the object becomes pliant and elusive, half solid, half liquid, sumptuous and voluptuous, nearly disappearing under the elastic coating.

Lavier is

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