•  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
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Press Releases - Galerie Jean-Luc & Takako Richard

Christophe AVELLA-BAGUR

Christophe Avella-Bagur charges his painting with one of his missions ; making what can be seen intelligible. His work is the platform for a view on the world and on mankind itself. Entitled Face FS : Miratoire des vanités, the exhibition of his most recent works reveals a reading at its ultimate limit. Avella-Bagur’s paintings, sketches and etchings – beyond the contemporary issues that they evoke, cloning for example- re-establish links with both the use of the medium and the nature of their subject in equal measure. His portraits and self-portraits reshape issues wrapped up in images, signifying the living reality of the human in the nature of representation. The aesthetic shift, a stylistic tactic which coerces the face into a state of emergence or disappearance, generates a tension towards the body of the subject and induces the sense of presence i.e. appearance, which is, according to Bacon, « something which doesn’t stop floating » His Floating Souls (FS) combine a stereotypical human colour in Payne’s grey that carries light like a sculpture waiting for a soul, identity, some form of characteristics or a physical state which would lend it a more vibrant colour. From these cocoon-like bodies emerges an infinitely unique difference, the awakening of a conscience. Vanity conveys this train of thought, but insists at the same time upon the fragility of life and the limits of our knowledge that the emptiness embodies. The possibilities of the work are borne out of a relationship with the light, the white and the surface, a device which designates a glowing mark like a physical representation of the condition of the visibility of the world. Looking at the form, the pictoral space transforms itself according to the array of varying planes and contrasts in the theatrical space. Here however, there’s no need for commentary, the living and the dead are to be found at the centre of the body. Death is represented by an antithetical face – that of a mundane life, of pain, of loss, of corruption and the resting body seems to be another life, mysterious and scientific.
The work of Avella-Bagur offers us a dialectic between readable and visible, scientific and social, imaginary and figurative. Far from mimicry, the artist captures the passage of time and light on the body, a style of painting which attempts to put the light and coloured nuances that eyesight captures at the forefront of what is imperceptible.



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