Exhibitions

Association of chromies, textures, opposition or analogies of shapes, each work resonates with the high-quality pieces of furniture from Philippe Hurel's 2021 collection, at 4 Rue du Bouloi, 75001 Paris, from 6 p.m. to 8 p.m.

Philippe Hurel, designer of exceptional furniture called on Amelie, Maison d'Art - embodied by Amélie du Chalard - to enhance his new collection of furniture. Among more than a hundred contemporary artists that she represents, Amélie du Chalard has chosen some of the works of painters, sculptors, visual artists and photographer.

The values ​​shared by the two Houses, the love of materials, the diversity of disciplines, the discovery of talents, the attachment to the gesture of the hand and to creation, ensure a common thread between Amélie, Maison d'art and Philippe Hurel.

Association of colors, textures, opposition or analogies of shapes, each work resonates with the high-quality pieces of furniture from Philippe Hurel's 2021 collection. With this unique installation, the visitor is immersed in different domestic and artistic worlds of invigorating modernity.

The first step in the secret process of alchemists in their magical quest called "the work in the dark". It consists of separating and dissolving substances for future recomposition into something rare. The three artists Nadine Altmayer, Francis Limérat and Edward Baran, have this convergence in their work. Each in its way is committed to working on the constituent, even constructive, elements of their artworks. The wefts, skeletons, bones and bones take shape and take on meaning.

As with the construction of a building, this work of structure gives their work an exceptional relationship to space, although it is almost flat. Is it volume painting or exquisite sculpture? The air becomes one of their working tools. This spatiality is a breath that brings balance to the dark masses. Because here too, these three artists find themselves in the use of a palette that appears to be reduced to black.

By the reflections or absence of reflections on surfaces, shadows, transparencies, contrasts are proof that light is essential and unbreakable. These artists have the formidable technical accuracy of mastering the elements they implement as well as those they invite. Air and light are their "collateral materials".

These back and forth between destruction with a view to reconstruction. The play with concrete elements and others only induced. The shared desire to create pieces that offer a robust spatial presence shows that these three artists have touched on the success of alchemy and that the blackwork is indeed their material.

François Kenesi