“Shade is a cellular material that, like water or wind, has a life of its personal.” Georgia Russell’s complete analysis lies in this quest for motion in the very matter of the work, not its representation but its inscription, its shaping in the very body of the fabric constituting the work. It's thus by making the paper palpitate that she succeeds in reworking the color into “cellular matter.”&
“I minimize, I lacerate the paper and I play with the gradations of tones, punctuated by the motion of my incisions, by which the sunshine seeps in,” explainsthe Scottish artist, settled within the Oise, north of Paris, with a uncommon readability and simplicity. “My work is the result of accumulations of cuttings. The repetition then creates emptiness and matter. These repetitive marks create a floor and an object in three dimensions.” Accumulation, repetition, chopping… Vacancy, matter, mild, surface… Transformation of colour into “cellular matter,” of emptiness into matter crossed by mild… There is something of transubstantiation in Georgia Russell’s artistic course of.&
The title of her latest work introduced at the Karsten Greve gallery (which has represented the artist, born in 1974, since 2010) is, in this regard, very evocative: Cells of Mild. By means of the incision of surfaces (canvas, paper, organza), painted in oil or acrylic, “she creates a mirage at the intersection of the actual and the illusory,” of the complete and the empty, the visible and the invisible.&
Implementing in their interstices the permeability of matter, her honeycombed canvases, woven of colors and intertwined lights, evoke typically the skin, “the natural cell, the dwelling tissue, the life” … typically its reflection by way of stained glass or the shimmer of water.
And the glance, caught by these shifting gradations of shade, to sail on this shimmering swell and to hurry in these interstices; finely lacerated with the scalpel, the cracks of the work of Georgia Russell are doorways half-opened on the void – this place past the surface of things, this immaterial area defined as “picture of the infinite” by Lucio Fontana. But if it is to the contemplation of this infinite and to a liberation “from the slavery of matter” that, between 1949 and 1968, the master of Concetto Spaziale invited together with his cut up canvases, it's more a plastic quest that Georgia Russell appears to pursue. Enjoying with the optical confusion (pushed to its paroxysm with using the organza, this artificial veil with the infinite iridescences, perpetually altering), the artist becomes grasp of the illusions reworking the tangible help of the canvas into an immaterial, shifting, and changing floor, attracting the look in the reels of its hypnotic oscillations to stroll there, to get misplaced there, or to be damaged there…
From 9th September to 16th October
Georgia Russell Exhibition – Cells of Mild&
Galerie Karsten Greve – 5, rue Debelleyme, Paris III – www.galerie-karsten-greve.com
STÉPHANIE DULOUT
L’article GEORGIA RUSSELL : Mobile material est apparu en premier sur Galerie Joseph.
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