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Elodie Seguin, Installation, 2017, wood, ink, polyurethane paint, plaster. Installation view. Photo: François Doury.

Elodie Seguin

Galerie Jocelyn Wolff

Elodie Seguin, Installation, 2017, wood, ink, polyurethane paint, plaster. Installation view. Photo: François Doury.

Despite being an outlier in many ways, Peinture cherche le mur A (Painting Looking for the Wall A) (all works 2017), a small painting of a simplified orange flashlight, fittingly illuminated Elodie Seguin’s usually less straightforward explorations of form, color, and texture. The cylindrical orange and red shaft emitting a conical gray-white beam—the most overtly representational element in the artist’s recent exhibition “Peinture sculpture peinture”—encouraged viewers to seek out figuration and symbolism in other works on view, which might otherwise be mistaken as exemplars of pure Minimalism.

Take, for instance, a series titled “Résistance.” At first glance these carefully considered, meticulously crafted geometric studies look to be the love children of John McLaughlin’s hard-edge rectangle paintings and Donald Judd’s neat Plexiglas boxes. Here Seguin uses similar

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