reviews

  • Colette Brunschwig, Untitled, 2016, india ink on paper, 66 1/4 × 44 3/4".

    Colette Brunschwig

    Galerie Jocelyn Wolff

    Despite having been created over five decades, from 1970 to the present, these eighteen works on paper by Colette Brunschwig in the exhibition “Papiers” had a similar dominant chromatic quality, with surprising correspondences, as if they were all part of a single series. It is difficult to say if, over time, Brunschwig’s graphic works have proceeded toward darkness or light, if they are variations on black or experiments with the way in which a ray of light pierces, or at least illuminates, the accumulated densities of color. This ambiguity is partly a result of the technique employed: diluted

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  • View of “Thomas Fougeirol,” 2016. Foreground: Untitled, 2016. Background, from left: Untitled (detail), 2016; Untitled, 2016; Untitled, 2016; Untitled (detail), 2016. Photo: Rebecca Fanuele.

    Thomas Fougeirol

    Praz-Delavallade | Paris

    Thomas Fougeirol is a painter who paints as if he were printing, meaning he uses paint to take imprints of actions and objects rather than using it to represent them. Channeling another French artist, Yves Klein, who famously attached canvas to the roof of his car in order to capture the effects of wind, rain, and dirt, Fougeirol has left paintings out in the elements. Whereas the moonlike cratered surfaces of his “Tableaux de pluie” (Rain Paintings), 2010–, document natural phenomena—rain falling on wet oil paint—the artist’s most recent works chart an intimate universe: his own

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