Some painters turn the sun into a yellow dot; others turn a yellow dot into the sun.
Dots and Pixels
Dots and Pixels is an exhibition of recent paintings on canvas by three artists concerning themselves with dots and pixels. Far from the digital world, they approach the landscape in different and varied ways; acrylic paint, China ink or coloured varnish are diluted, applied, superimposed, thrown, squirted and spread with various amounts of sensitivity, resulting in waves of dots and constellations of pixels.
Nathalie Grenier. Grenier’s paintings in acrylic on Japanese paper mounted on linen canvas are treated with a technique that she masters wonderfully: myriads of coloured dots are projected and superimposed, creating three-dimensional space. Danièle Gillemon, art critic for the newspaper Le Soir, describes her work as “a gestural adventure, a kind of hailstorm of tiny coloured drops akin to Pollock’s drippings, which covers all tracks and explores the vision of landscape”(1). From this explosion of dots, these fireworks of colours, light erupts and with it, a new and free interpretation of landscape.
Li Wei. According to Michel Baudson (2), “the artist’s pictorial investigation cross-references traditional Chinese painting (ink on paper or silk, strongly marked by a contemplation of the landscape – in Chinese: Shan Shui, meaning “mountain-water” – in which the presence of trees and forests are as important as that of mist and clouds) with the most contemporary techniques and representations such as the digital image based on dots or sequences of identical, same size dashes. The results are works with evanescent, monochrome tonalities, bringing to mind a post-pointillism revisited as much by the literary aspect of Chinese writing/painting as by the precision of detail within binary processes, revealing a grand modernity and a genuine pictorial renewal”.
Léopoldine Roux. “She composes almost exclusively with the mark, an extremely simplified form, an elemental structure repeating itself like a leitmotif and which she develops on all kinds of supports, ranging from canvas and paper to monumental installations […]. Envisaged as an image of the absolute, the mark becomes one with the colours that animate it, making it vibrate in a fascinating, aesthetically pleasing orchestration […]. Roux’s fetish colours – candyfloss pink, marshmallow green and lemon yellow – relate metaphorically to an overflowing expressiveness as part of a great manifestation of joie de vivre”, writes Anne-Lise Quesnel (3).
(1) Le Soir, 22 January 2014.
(2) Michel Baudson is Director Emeritus at the Académie Royale des Beaux-arts, Brussels; Honorary Chairman of the Association of Belgian art critics; he is curator of the exhibition Li Wei at Galerie Alice Mogabgab, 15 November – 30 December 2016, and the author of the catalogue that will accompany this exhibition.
(3) Anne-Lise Quesnel is an art historian. She divides her time between writing and organising exhibitions and conferences in Brussels as well as in Paris and Montreal.