Paris

Bernard Frize, Nami, 2019, acrylic and resin on canvas, 39 3⁄8 × 31 7⁄8".

Bernard Frize

Perrotin | Paris

Rules can set you free. This credo has defined Bernard Frize’s practice for more than forty years, leading him to design various systems, protocols, and restraints intended to rid his paintings of self-expression. To this end, Frize has, for previous bodies of work, engaged assistants in an intimate choreography whereby six hands worked together, used multiple brushes to map out all the possible moves for a knight on a chessboard, and stretched up dried “skin” harvested from a large basin filled with gallons of house paint. The results of such techniques—mostly large, colorful abstractions—were recently on view in the Centre Pompidou, Paris, retrospective “Bernard Frize: Sans repentir” (Without Remorse). And while the survey duly celebrated Frize’s unconventional practice and the diversity of his oeuvre, it failed to delve into the artist’s characteristic serial approach, in many instances

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