Fran莽ois Morellet
Mar 19, 2011 - Apr 29, 2011
Fran莽ois Morellet鈥檚 work has acquired an undisputed reputation; his drawings however remain relatively unknown. For this new exhibition, the gallery is revealing this aspect of his work with a selection of the artist's drawings, dating from the fifties up until today.
Drawings, in Fran莽ois Morellet's work, play a large role; they are at the heart of the creative process. Essential not only for the construction of an idea but also it's design, each piece of paper becomes, with the help of artistic gesture, the place where a thought forms and deforms itself. These are not just preparatory drawings but rather art works in their own right.
In the series of drawings using tracing paper the support is folded thus diverting what seems to be the logical direction of a curve or a line. As a result, a three-dimensional ever transforming shape, in constant movement, springs from the drawing itself.
Continuing this idea, the artist also often uses squared paper similar to that of an architect. The drawing in turn begins to question the support upon which it sits, as a complex geometric system appears through the use of a grid. This can be seen for example in 鈥淓tude, trames superpos茅es鈥� (Study, layered grids) dating from 1959. A grid can also be constructed through the use of hyphens, seen in 鈥淭irets 1cm dont l'espacement augmente 脿 chaque rang茅e de 1 cm鈥� ( 1 cm Hyphens between which the space increases by 1cm for each row) (1975).
Fran莽ois Morellet also experiments with different techniques in his drawings ; the collage entitled 鈥淐ercle fragment茅鈥� (Fragmented circle), produced in 1977, is a prime example of the varying technique in Fran莽ois Morellet's work. The artist's 'language' comes in large from pure and simple forms but is also formed through the use of fragmentation, demonstrated also in the series entitled 鈥淒茅figurations鈥�.
Among his latest drawings, a selection of his preparatory studies for the Louvre鈥榮 Lefuel Staircase will be exhibited.
Drawings, in Fran莽ois Morellet's work, play a large role; they are at the heart of the creative process. Essential not only for the construction of an idea but also it's design, each piece of paper becomes, with the help of artistic gesture, the place where a thought forms and deforms itself. These are not just preparatory drawings but rather art works in their own right.
In the series of drawings using tracing paper the support is folded thus diverting what seems to be the logical direction of a curve or a line. As a result, a three-dimensional ever transforming shape, in constant movement, springs from the drawing itself.
Continuing this idea, the artist also often uses squared paper similar to that of an architect. The drawing in turn begins to question the support upon which it sits, as a complex geometric system appears through the use of a grid. This can be seen for example in 鈥淓tude, trames superpos茅es鈥� (Study, layered grids) dating from 1959. A grid can also be constructed through the use of hyphens, seen in 鈥淭irets 1cm dont l'espacement augmente 脿 chaque rang茅e de 1 cm鈥� ( 1 cm Hyphens between which the space increases by 1cm for each row) (1975).
Fran莽ois Morellet also experiments with different techniques in his drawings ; the collage entitled 鈥淐ercle fragment茅鈥� (Fragmented circle), produced in 1977, is a prime example of the varying technique in Fran莽ois Morellet's work. The artist's 'language' comes in large from pure and simple forms but is also formed through the use of fragmentation, demonstrated also in the series entitled 鈥淒茅figurations鈥�.
Among his latest drawings, a selection of his preparatory studies for the Louvre鈥榮 Lefuel Staircase will be exhibited.
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Fran莽ois Morellet鈥檚 work has acquired an undisputed reputation; his drawings however remain relatively unknown. For this new exhibition, the gallery is revealing this aspect of his work with a selection of the artist's drawings, dating from the fifties up until today.
Drawings, in Fran莽ois Morellet's work, play a large role; they are at the heart of the creative process. Essential not only for the construction of an idea but also it's design, each piece of paper becomes, with the help of artistic gesture, the place where a thought forms and deforms itself. These are not just preparatory drawings but rather art works in their own right.
In the series of drawings using tracing paper the support is folded thus diverting what seems to be the logical direction of a curve or a line. As a result, a three-dimensional ever transforming shape, in constant movement, springs from the drawing itself.
Continuing this idea, the artist also often uses squared paper similar to that of an architect. The drawing in turn begins to question the support upon which it sits, as a complex geometric system appears through the use of a grid. This can be seen for example in 鈥淓tude, trames superpos茅es鈥� (Study, layered grids) dating from 1959. A grid can also be constructed through the use of hyphens, seen in 鈥淭irets 1cm dont l'espacement augmente 脿 chaque rang茅e de 1 cm鈥� ( 1 cm Hyphens between which the space increases by 1cm for each row) (1975).
Fran莽ois Morellet also experiments with different techniques in his drawings ; the collage entitled 鈥淐ercle fragment茅鈥� (Fragmented circle), produced in 1977, is a prime example of the varying technique in Fran莽ois Morellet's work. The artist's 'language' comes in large from pure and simple forms but is also formed through the use of fragmentation, demonstrated also in the series entitled 鈥淒茅figurations鈥�.
Among his latest drawings, a selection of his preparatory studies for the Louvre鈥榮 Lefuel Staircase will be exhibited.
Drawings, in Fran莽ois Morellet's work, play a large role; they are at the heart of the creative process. Essential not only for the construction of an idea but also it's design, each piece of paper becomes, with the help of artistic gesture, the place where a thought forms and deforms itself. These are not just preparatory drawings but rather art works in their own right.
In the series of drawings using tracing paper the support is folded thus diverting what seems to be the logical direction of a curve or a line. As a result, a three-dimensional ever transforming shape, in constant movement, springs from the drawing itself.
Continuing this idea, the artist also often uses squared paper similar to that of an architect. The drawing in turn begins to question the support upon which it sits, as a complex geometric system appears through the use of a grid. This can be seen for example in 鈥淓tude, trames superpos茅es鈥� (Study, layered grids) dating from 1959. A grid can also be constructed through the use of hyphens, seen in 鈥淭irets 1cm dont l'espacement augmente 脿 chaque rang茅e de 1 cm鈥� ( 1 cm Hyphens between which the space increases by 1cm for each row) (1975).
Fran莽ois Morellet also experiments with different techniques in his drawings ; the collage entitled 鈥淐ercle fragment茅鈥� (Fragmented circle), produced in 1977, is a prime example of the varying technique in Fran莽ois Morellet's work. The artist's 'language' comes in large from pure and simple forms but is also formed through the use of fragmentation, demonstrated also in the series entitled 鈥淒茅figurations鈥�.
Among his latest drawings, a selection of his preparatory studies for the Louvre鈥榮 Lefuel Staircase will be exhibited.
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