It is Hard to Get Excited About Growth of Less Than 3% With No Sign of Imminent Improvement
February 27 — September 2, 2015
  • exhibitions
  • It is Hard to Get Excited About Growth of Less Than 3% With No Sign of Imminent Improvement

February 27 — September 2, 2015

“You will come to the gallery because you like the title and you will be in the right frame of mine to look at the works on the walls. Bit first, let me tell you that my main interest is not growth, it is the presence of things. For this exhibition, I have I put together two types of work: a real object that is a construction and a trample l’ceil that is a painted and cut out paper, the two elements existing as a couple. No oil on canvas this time.

Objects have been the theme of my work for the last 25 years. I have represented carefully objects of many types until I started constructing the things I wanted to represent. But there was always something disturbing in seeing together the model and its portrait. I would always try to keep them separately. This time there is no representation anymore just the juxtaposition of a flat painted surface in the shape of an impossible object and a real construction.

In the photographs Delfina Sisto Legnani has taken, there is an ambiguity that challenges me because it makes me understand something about my work. I have always enjoyed entering the studio in the morning and seeing a painting as if it was the first time, being surprised by it. That is because I do not have a strong visual memory and also because for a while the oversize thing I have painted, looking at a carefully prepared set, is totally odd. On some of the images Delfina look, the real object seems to be the cut out paper because the real “real” object project a shadow that transforms it into a flat shape and you are confused. There is a sensation of “straniamento” (estrangement) for a moment when you don’t know what you are looking at, it seems to be existing but you have never seen anything like it, it does not relate to with you expect. With this work that was done fairly quickly, it is as if things had been positioning themselves to reveal the ambiguity of the conflict between materiality and poetry, between tangible and intangible. And I am the surprised spectator.”

– Nathalie Du Pasquier





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