Effectuée pour Pauline Lisowski, commissaire de l’exposition Utopia Botanica s’étant tenue du 5/07/2018 au 22/09/2018 à la Galerie Laure Roynette, 75003, Paris.
Pauline Lisowski est également critique d’art. Elle écrit pour de multiples revues en ligne et artistes contemporains. Retrouvez-la sur son blog !
Et cliquez ici pour être redirigée vers la Galerie Laure Roynette !
Craig Stewart developed a system of notations, signs, lines which all stand for time symbols. Meticulously, he takes the time of remembering through drawing. His artworks are accurate and delicate, reflecting the focus and meditation of a long moment spent strolling on paper.
At the Graphem Gallery, in the course of his exhibition Sentimental procedures, he presents different sizes of drawings in which various forms, landscapes, architectures and phenomena appear.
Step by step, his lines, at more or less spaced intervals, breed spaces of projection, places of memory, and lived moments. Our gaze is invited to wander around, to be carried away by the opening paths.
A large drawing (100 x 70 cm) shows, from a certain distance, a church’s plan and the feeling of a mountain scenery… Close-up, we renew our reading of his graphic sign, like footprints resulting from a journey.
Other small drawings also convey movements, circulations, working as crossings… Craig Stewart lets his lines come as his thoughts, his memories rise up. His drawings are reminiscent of visions or picture apparitions. We dive into it with pleasure…
The Hours series reveals even more his attention to record the time flying by. On ancient postcards, an abstract form comprises tens of lined-up strokes, marks of a everyday temporality. The 24 drawings echo the 24 hours of a day.
On the pane, hundreds of strokes expose a rectangular shape. This geometrical form and a same sized cut-out frame answer each other. Again, the space drawn conveys past time and a presence…
Craig Stewart’s drawings present an infinity of images, of movements to follow… They provide both gidding sensations and offer new ways of experiencing again lived moments and places engraving in memory.
An exhibition to be discovered urgently, until May 27 at the Graphem Gallery.
Find the source text here ! This was a translation done for the art critic and curator Pauline Lisowski.
Traduction effectuée pour la commissaire d’exposition Pauline Lisowski
Retrouvez Pauline Lisowski sur son blog et cliquez ici pour être redirigé vers le site de la Galerie Graphem.
For his first exhibition in France, Kris Ruhs presents a stupendous artwork through which the visitor is invited to walk, on the premises of Azzedine Alaïa’s gallery.
Surrounded by giant blossoming “trees” made of porcelain and brass, the visitor is caught by this magical universe. The branches seem to float in the air, coming in straight lines from the ceiling, and gathered into three curved islets. This arrangement creates a loss of bearings in the visitor’s mind and body. The stiffness and the material used enhance this impression of a timeless space.
The natural world which would normally revolve around a life cycle coming from the ground is here represented as a perennial one coming from above. The contrast between the rigidity and the frailty of this maze may also be inviting us to reflect on the human impact on nature.
While the white and golden tones suggest a peaceful conservatory, a different space awaits the visitor at the end of the gallery. A snowy forest of what seems to be leafless trees seen from afar turns out to be filled with totems or lucky charms.
To enjoy this enchanting garden, waste no time since there is just one day left to discover this dazzling environmental installation.
PS: I wrote this text for the blog held by Pauline Lisowski, contemporary art critic and curator. Please note the above text is not a translation, just my view to complete hers on the exhibit.
J’ai rédigé cet article pour le Corridor de l’Art, blog tenu par Pauline Lisowski, commissaire et critique d’exposition d’art contemporain. Cet article vient en complément du sien et n’en constitue pas une traduction.