Nathalie Du Pasquier - Chamber - Journal
Book cover, design by Omar Sosa
Nathalie Du Pasquier - Chamber - Journal

Nathalie Du Pasquier at her studio in Milan

    1. It is hard to get excited about growth less than 3% with no sign of imminent improvement. You will come to the gallery because you like the title and you will be in the right frame of mind to look at the works on the walls. But first, let me tell you my main interest is not growth, it is the presence of things. For this exhibition, I have put together two types of work: a real object that is a construction and a trompe l’oeil 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 but just the juxtaposition of a flat painted surface in the shape of an impossible object and a real construction. In the photographs Delfino 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 Delfino took, the real object seems to be the cut out paper because the real “real” object projects a shadow that transforms it into a flat shape and you are confused. There is a sensation of “straniamento” (estrangement effect) you have 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 what 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 Milano, February 2015
CHAMBER will also host the global launch of the recent publication by powerHouse Books “Nathalie Du Pasquier. Don’t Take These Drawings Seriously. 1981-87” designed by Omar Sosa, preface by Deyan Sudijc; featuring an interview with Emily King.

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