Gérard Traquandi as a “Contrepoint”

Bâtiment de la Donation Albers-Honegger Architectes : Annette Gigon et Mike Guyer© photo eac.

Bâtiment de la Donation Albers-Honegger Architectes : Annette Gigon et Mike Guyer© photo eac.

Vue de l'exposition Contrepoint, Gérard Traquandi & la Donation Albers-Honegger Courtesy de l'artiste et Galerie Laurent Godin, Paris©photo eac©Adagp, Paris 2019

Vue de l'exposition Contrepoint, Gérard Traquandi & la Donation Albers-Honegger Courtesy de l'artiste et Galerie Laurent Godin, Paris©photo eac©Adagp, Paris 2019

Portrait de l'artiste Gérard Traquandi© photo Malika Mokadem Caujole

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Bâtiment de la Donation Albers-Honegger Architectes : Annette Gigon et Mike Guyer© photo eac.
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Bâtiment de la Donation Albers-Honegger Architectes : Annette Gigon et Mike Guyer© photo eac.
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Vue de l'exposition Contrepoint, Gérard Traquandi & la Donation Albers-Honegger Courtesy de l'artiste et Galerie Laurent Godin, Paris©photo eac©Adagp, Paris 2019
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Vue de l'exposition Contrepoint, Gérard Traquandi & la Donation Albers-Honegger Courtesy de l'artiste et Galerie Laurent Godin, Paris©photo eac©Adagp, Paris 2019
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Portrait de l'artiste Gérard Traquandi© photo Malika Mokadem Caujole

#MOUANS-SARTOUX Sometimes he draws with his eyes closed; his hand slips on the paper to filter out a few strands of memory, the memory of a grass or branch, a tangle of leaves, a trace of snow or a fire Gérard Traquandi thus seizes only the materials of nature so that it reveals itself in the weft of a painting, in the evanescence of a colour, to restore the echo of it to the limits of erasure

The work is whispered, before any representation, in this gap between sensory impregnation and the idea of nature, the imprecation of this reality and what results from it. The artist works time; he collects the shreds, layer after layer. Little by little, the canvas comes to life with ghosts of trees or uncertain shapes, engulfs itself with desire, sap, painting. Magic forest maybe. Unless it’s the ashes of a desert: who will ever be able to tell the world otherwise than in its uncertainty? So let this world penetrate the canvas, in the patience of successive glazes, waiting for drying and then another covering. Moiré strata with sumptuous colours are diffused in it. Striations of light scrape them off and gently tear the space apart and you enter the wonderful world of painting

But Gérard Traquandi knows the detours as well as the finery. He knows its history, from its origins to the productions of minimal artists or concrete art: those who, however, claimed a mechanical technique, anti-Impressionist, free from the constraints of nature. With them, Traquandi does not engage in dialogue or confrontation, and rather than enter into the Commissioner’s uniform, he seizes the conductor’s baton. The one who interprets the score from the “counterpoint” – since that is the title of this exhibition. It is then a question, in this counterpoint, at the dawn of classicism, of superimposing melodies without one imposing itself on the other. Two musical beams illuminate each other. Thus, in this room, a drawing, a ceramic, a painting by Traquandi is measured by the colour of Albers, in another by the geometric shapes of Federle or Aurélie Nemours

The architecture of the Espace de l’Art Concret, its large bay windows where the surrounding vegetation flows, its austere white slopes, are all possibilities for the artist to bring out the qualities specific to each work by installing in his score very diverse proposals but all converging towards this original thread of nature

“Painting is light,” he says. And, indeed, this original thread is also the red thread of time, the filament of incandescence when, at the heart of the canvas, the colours flare or flicker until they give rise to stammers of foliage, the pulsations of a latent life that the artist tracks down in each fold, at the end of a scent from which the hot or suffocating breath of a fragrant earth is exhaled. The canvas is animated and illuminated. The most austere works of concrete art are adorned with elegance and quiver with poetry. The world is here, a jungle of lightness if that were possible. The canvas absorbs it, the artist’s gesture is useless, it is enough for him that patiently the surface is impregnated with it. The earth then opens up to us as if we were born. The Traquandi miracle has done its work.

 

 

From April 6, 2019 to April 5, 2020

Gérard Traquandi: Contrepoint

Espace de l’Art Concret-Centre d’art contemporain
Albers-Honegger Donation
Rouans Castle
06370 Mouans-Sartoux
+33 (0)4 93 75 71 50

 

Michel Gathier

With a literary background, Michel Gathier developed a passion for art very early, particularly during long stays abroad. He has contributed to the magazine “L’art vivant” and now...

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