L'état de nature
Exhibition view
L'état de nature
Exhibition view
L'état de nature
Exhibition view
L'état de nature
Exhibition view
L'état de nature
Exhibition view
L'état de nature
Exhibition view
Déchiré profond, 1972
Pierre TAL COAT
Déchiré profond, 1972
Oil on canvas
28.7 x 36.2 in
Unique artwork
Signé
Sans titre, 1980
Pierre TAL COAT
Sans titre, 1980
watercolor on paper
13,8 x 9,8 in
Unique artwork
Signé
Sans titre, 1976-1979
Pierre TAL COAT
Sans titre, 1976-1979
Oil on plywood
11,5 x 21 cm
Unique artwork
Signé
Sans titre, 1969
Pierre TAL COAT
Sans titre, 1969
Oil on lid of color tubes box
23 x 7 x 4,5 cm
Unique artwork
Non signé
Sans titre, 1982-1983
Pierre TAL COAT
Sans titre, 1982-1983
Oil on lid of cigar box
19 x 23 x 1,5 cm
Unique artwork
Non signé
Sans titre, 1976-1979
Pierre TAL COAT
Sans titre, 1976-1979
Oil on lid of cigar box
Unique artwork
Non signé
Sans titre, circa 1970-1976
Toni GRAND
Sans titre, circa 1970-1976
Assembled wood
77 x 20 x 7 cm
Unique artwork
Non signé
Sans titre, circa 1970-1976
Toni GRAND
Sans titre, circa 1970-1976
assembled wood
90 x 10 x 6 cm
Unique artwork
Non signé
Sans titre, 1975
Toni GRAND
Sans titre, 1975
assembled wood
48 x 18 x 4 cm
Unique artwork
Non signé
Sans titre, circa 1970-1976
Toni GRAND
Sans titre, circa 1970-1976
Bois collés, peinture
Unique artwork
Non signé

L'état de nature

06.06.2017 - 29.07.2017

Front space

Download exhibition press release


« Man’s presence in nature and / or painting couldn’t be better expressed. The landscape is humanized effortlessly : man or woman doesn’t modify it by imposing the architecture of its forms… »
Jean-Pascal Léger


Recently, when in the same conversation, the names of both Pierre Tal Coat and Toni Grand were uttered, the harmonics of a same chord suddenly resonated within me. As if the distant echo of a thing both known and silenced at the same time escaped from these two notes played together. As if a common « sympathetic » vision of the world and nature preexisted at the source of their respective work. Besides, addressing Tal Coat’s work, Henri Maldiney talks of a « fundamental relationship between Tal Coat and the universe that isn’t aggressive but sympathetic ». As is said of sympathetic chords, those we do not strike but simply vibrate by resonance - by sympathy - due to their sole proximity to the strike chords. Tony Grand’s work works in a similar way. Confronted one to the other, both of these works benefit from that same relation.

For Tal Coat, as well as Toni Grand, any thing destined to oblivion should be retained, kept, but with the same concern of never over-burdening what isn’t obvious. A similar approach to silence as well, main requirement to access. A formal experience of a commemoration, of a permanence. A relic of that which is remembered. The sculptor and the painter strive to birth the contained form, to let it appear instead of bringing it to light. To make « the invisible there » visible (cf Maldiney).

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