Berlin

Hélène Delprat, Mes invités (My Guests), 2015, acrylic and pigment on canvas, 88 5⁄8 × 102 3⁄8".

Hélène Delprat, Mes invités (My Guests), 2015, acrylic and pigment on canvas, 88 5⁄8 × 102 3⁄8".

Hélène Delprat

carlier | gebauer

Hélène Delprat, Mes invités (My Guests), 2015, acrylic and pigment on canvas, 88 5⁄8 × 102 3⁄8".

The title of Hélène Delprat’s first solo exhibition in Berlin, “TO SLEEP TO DIE, NO MORE,” can be understood as a reflection of the ways in which we are touched by our cultural past without necessarily knowing it. It sounds like a misremembered line from Shakespeare or some other poetic phrase we no longer fully understand but still recognize as part of our linguistic heritage. This type of slippery relation to our past is also found in Delprat’s phantasmagoric painterly compositions, which take historical and cultural references and distill them into an idiom uniquely her own, yet somehow familiar.

Mes invités (My Guests), 2015, is a large acrylic-and-pigment work that greeted visitors like a portent in the gallery’s vestibule. While it exhibits techniques she uses in making her other paintings, such as diluting pigment to create a phantomlike underlayer of paint, Delprat here

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