The forces in the presence of Aurore Pallet at the Isabelle Gounod Gallery

© Aurore Pallet / Galerie Isabelle Gounod

© Aurore Pallet / Galerie Isabelle Gounod

© Aurore Pallet / Galerie Isabelle Gounod

© Aurore Pallet / Galerie Isabelle Gounod

© Aurore Pallet / Galerie Isabelle Gounod

© Aurore Pallet / Galerie Isabelle Gounod

© Aurore Pallet / Galerie Isabelle Gounod

© Aurore Pallet / Galerie Isabelle Gounod

Exposition In Visu © Rebecca Fanuele

Exposition In Visu © Rebecca Fanuele

Exposition In Visu © Rebecca Fanuele

Exposition In Visu © Rebecca Fanuele

Trulli
© Aurore Pallet / Galerie Isabelle Gounod
Trulli
© Aurore Pallet / Galerie Isabelle Gounod
Trulli
© Aurore Pallet / Galerie Isabelle Gounod
Trulli
© Aurore Pallet / Galerie Isabelle Gounod
Trulli
© Aurore Pallet / Galerie Isabelle Gounod
Trulli
© Aurore Pallet / Galerie Isabelle Gounod
Trulli
© Aurore Pallet / Galerie Isabelle Gounod
Trulli
© Aurore Pallet / Galerie Isabelle Gounod
Trulli
Exposition In Visu © Rebecca Fanuele
Trulli
Exposition In Visu © Rebecca Fanuele
Trulli
Exposition In Visu © Rebecca Fanuele
Trulli
Exposition In Visu © Rebecca Fanuele

There are no better personal exhibitions than those that take the form of a knot in an artist’s career. When they convene, deepen and pursue the reflections and techniques already tried while opening new perspectives coming to marry the old ones, by sinking into the gaps hitherto unexplored of a territory however well known. Les Forces en Présence d’Aurore Pallet (Isabelle Gounod) is one of these exhibitions.

Several series are hung on the walls of the gallery. First, the Deluge and Les Augures, two variations of the same form, oils on dark canvas, bluish and grey tints, made from mash upd’images most often taken from the Renaissance. Two series initiated in 2017. The first one at the exhibition Prendre les Augures in Labanque (Béthune), where Aurore Pallet worked on the meteors and the over-interpretations that one can make of nature. For the exhibition, in addition to canvases inspired by the surviving images of omens during the Renaissance, the space was bathed in a sound installation evoking the arrival of the storm and fragments of expert testimony on the same theme. She had also shown screenshots of conspiracy sites, where some see phenomena that none would consider natural as manifestations of angels, demons or aliens. During a residence in Saint Marcel de Félines (Loire), where the woodwork painted inside the castle on the Metamorphoses were the origin of a series of paintings inspired by Ovid, in particular the Flood and the famous representation that Paolo Uccello made of it.

In these paintings, there is something that is waiting. First of all in their contemplation – an old-fashioned word, we must admit, but always full of beauty. Aurore Pallet’s paintings are not exhibited at first glance. From a dark almost monochrome at first, they reveal themselves little by little. The forms emerge, appear and disappear again, then re-emerge. A whole game where the vision becomes clearer through observation, but like the gaze, in the shadows, touches the eyes and perceives better with habit. Aurore Pallet’s paintings, we’re groping at them. By playing with words, we could even talk about latent paintings, because they never give themselves completely, they always keep an elusive, unmanifest side. Waiting is also in their theme. The Flood of Deucalion is haunted by Zeus’ hope to make humanity better. Omen, like plotters or storm chasers, expect a sign from the landscape. The oils of Aurore Pallet possess this somewhat mystical power of a landscape where (almost) nothing happens, but from which can arise a revelation, a truth about the world. Meaning and absence. Waiting.

The exhibition testifies of these two residences, but also introduces a novelty: transfers on paper marouflés on canvas (The forces in presence). Same process of mash up of images with medieval bestiaries and Renaissance landscapes, even indistinction cultivated in the landscape… But a different technique. Acetone transfers of halftone and oil enhanced images. A Sigmar Polke aesthetic in less pop, more mystical. Technique that also allows Aurore Pallet to make larger, more enveloping images. With these transfers on canvas, she deepens a work begun at Saint-Marcel de Félines, where she had realized a very Warburgian table where mixed different types of images evoking Metamorphoses, but also fragments of texts – some exposed at Isabelle Gounod. With these small transfers on paper, an aesthetics of the document, of the archive, dear to the artist, shows through.

It must be said that before forms, Aurore Pallet learned words. From these two paths, she nourishes an attachment for the mental image, both word and vision, idea and projection. The mental image is this ephemeral appearance, with elusive, moving contours, nourished by images, memories, myths, everything we have swallowed in a life. Images as indistinct, beautiful and fleeting as his painting.

PRACTICAL INFORMATION
The forces in the presence of Aurora Pallet/

! Last Days!

Until 24 March 2018

Isabelle Gounod13 Gallery Rue Chapon

75003 Paris

http://galerie-gounod.com

Clément Thibault

Clément Thibault is an art critic and independent curator. He is involved in numerous publications such as AMA (of which he was editor-in-chief for two years), Art Absolument, La Gazette Drouot, M...

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