paris

View of “Florian and Michael Quistrebert,” 2015. From left: Overlight S2E3, 2015; Overlight S2E4, 2015; Overlight S2E5, 2015; Overlight S2E6, 2015. From the series “Overlight,” 2013–.

Florian and Michael Quistrebert

Galerie Crèvecoeur

View of “Florian and Michael Quistrebert,” 2015. From left: Overlight S2E3, 2015; Overlight S2E4, 2015; Overlight S2E5, 2015; Overlight S2E6, 2015. From the series “Overlight,” 2013–.

In dialogue with a long history of painters’ attempts to represent light and harness its dematerializing effects—from Vermeer to Monet to Rothko—the latest works by Florian and Michael Quistrebert sparkle and shine, thanks to the iridescent car paints and tiny, battery-powered lightbulbs used in many of them. In contrast to the brothers’ previous muted geometric compositions, their new paintings are characterized by thick gestural strokes and flashy jewel tones. “Hyperdelia,” the first exhibition dedicated to the “Overlight” series begun in 2013, introduced this body of work with a didactic before-and-after-style pairing on the gallery’s entry wall: Overlight S2E1 (all works 2015), silver encrusted with sprays of blue, yellow, and pink and inlaid with one green and one blue LED, hung next to Overlight S2E2, the only work on view made without paint. Exposing the internal

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