Empty lines — Bertrand Grimont Gallery — Exhibition — Slash Paris

Past: September 12 → October 19, 2013

The exhibited works show their uniqueness in their ability of making themselves visible and having their own existence. The work launches itself into the art process because it has figurative postures close to the body, thanks to a geometric nearness as well as a poetic distance.

Rana Begum, No. 456 Fold, 2013 Paint on mild steel — W57 × H69 × D17

Rana indeed makes folds dance in her flying scores which bring abstraction to life in colors and G F B. Nathaniael, with his raw material taken from an urban background, builds the lines of the frame with light, and covers the march of a reprieved vocabulary. Paul and his monochromes, lacquered objects give the bark a complexion, roots a skin in volume, just like a hand.

Vue de l’exposition Aurélien Mole

Those mirrors blur reality and reveal to the wall its shadow zones. They blur the borders between abstract and performative gestural.

The hyphenated repertoire of the artists — painting-sculpture for Rana, sculpture-design for Nathaniael, and sculpture-architecture as for Paul revitalize the idea of a crossing, of a given hand to movement, reaching the corners of space.

Nathaniel Rackowe, GP01, 2013 Oak, glass, acrylic paint, fluorescent light — 45 × 52 × 20 cm

This three-cornered integration — work, space, and member of the audience — underlines, without writing it, the inner angles.