Remy Zaugg

Ronny Van de Velde

Situated between an analysis of perception and painting, Rémy Zaugg’s series, A Sheet of Paper I & II, 1973–90, may be seen as an endless permutation of works, wherein each painting, each view, implies another.

Zaugg refers to his five-year journal, Constitution of a Painting, 1963–66, as a “student work,” which took a reproduction of Paul Cézanne’s La maison du pendu (House of the hanged man, 1873), as a starting point. In this exhibition, we follow his progress as a painter, after he has assimilated the knowledge of Cézanne’s concept of figuration. Thus, we find a series of approaches to painting, grounded in an intricate mix of color, scale, and language. This is a work, perhaps a lifework, about the possibilities of realizing the myriad number of ramifications that may affect the relationship between artist, work, and public. Zaugg’s comment on the use of text in Constitution, comparing

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