•  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
30th anniversary
Saatchi Store
Current Exhibition

SELECTED WORKS BY Aglaé Bassens

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Aglaé Bassens
The Audience

2012

Oil on canvas

160 x 120 cm
The old rule of stage acting ‚Äď never turn your back to the audience ‚Äď is a way of ensuring the viewer always feels tacitly acknowledged, an implied awareness of why the events of the play are even happening. In Agla√© Bassens‚Äô paintings, the turned, concealed or invisible face creates the opposite effect: the viewer feels shut out, with the narrative of the painting obscured and open to question. This sense of removal and distance is at the heart of Bassens‚Äô attitude towards painting itself: sometimes ‚Äúimmersed in the act of painting, at other times removed from making and ‚Ķ looking analytically.‚ÄĚ
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Aglaé Bassens
Ink Wigs

2012

Ink and white pencil on paper

40 x 70 cm
That the artist is both in and out of the painting is made metaphorical in her work Ink Wigs, an ink drawing of the corner of a room hung with wigs of various shades. Each wig implies a potential act of personal transformation, described in lively and energetic paint; and yet there’s an unmistakable air of being ignored, and the wigs become the heads of people passing us by. In The Audience, we see rows of glossy and conditioned women’s hairstyles facing towards a stage or screen that we can’t see; Bassens’ brush lingers on the feathery cascades of hair, but the mystery of the painting remains unsolved. The heads’ positions imitate the act of looking at the painting itself, but unlike these curiously transfixed spectators, we’re denied the exposition we crave.

Text by Ben street

OTHER RESOURCES

artfacts.net
Additional information- Aglaé Bassens

aglaebassens.com
Artist’s website- Aglaé Bassens

londonartistquarter.org
Additional information and images- Aglaé Bassens

liangwest.com
Additional images and information- Aglaé Bassens

telegraph.co.uk
Article- Graduate Art: Make an art of your investments- Aglaé Bassens

introducingart.com
Additional images- Aglaé Bassens

celesteprize.com
Additional images and information - Aglaé Bassens

artworksproject.com
Additional image- Aglaé Bassens

theperfectnude.wordpress.com
Additional image- Aglaé Bassens