La
galleria Rod Barton di Londra presenta l’opera “Fuga“ di Jean -Baptiste Bernadet.
Intervento pittorico ideato come una linea continua ( anche se in realtà composto
da otto dipinti separate) il lavoro occupano tutta la parete di fondo della galleria.
Il lavoro è visibile dalle finestre della galleria in modo aperto, il titolo “Fuga”
vuole connotare una stratificata, ripetitiva composizione. I pannelli sono in bilico
tra immagine e campo di colore, fra chiarezza e distorsione, fra stasi e vibrazioni.
Press
release:
Rod
Barton, London is pleased to present Jean-Baptiste Bernadet Fugue. Arranged as a
continuous line (although actually comprised of eight separate paintings) the work
inhabits the entire back wall of the gallery, the wall itself becomes one expansive
painting. Running parallel to the gallery's windows, the works can be read even
from the sidewalk out front, or to a passerby on the road, thus extending beyond
the space itself. Taking it's cue and form from music, the apt title of the exhibition
Fugue connotes a layered, repetitive, multi pitched form of composition. It is in
the works best interest then to be shown as one continuous panel, as the form is
all encompassing. Teetering between image and colour field, clarity and distortion,
stasis and vibration, focus and blur, the paintings continue to evolve upon examination.
There is no single perfect position to see, rather one must move with, perhaps like
the maker, through time, shifts in distance, and perspective.
Fugue
as a musical reference applies here as well when one is engaged in this rhythm of
view, the pattern of mark; a dance of sorts. Once up close the formation is revealed,
made of multiple, repeated, unique yet somehow mechanical brushstrokes, the myriad
of colours blend and push and pull from one another. The viewer is drenched in an
echo of buzzing line, amplified by the echo of multiple panels hung side by side.
The paintings themselves are variations on a theme, much like Bach's 32 Goldberg
variations. In both cases, the works in Fugue, and the 32 Goldberg variations provide
an understanding of a part of body of work, but they do not provide grounds for
an understanding the entirety of each respective practice. Fugue serves as a compelling
extension of the artist's dynamic, prolific, and diverse practice. Comprised sequentially,
the works hung side by side are like a linear cinematographic edit, eight still
images, eight frames cataloging motion.
The
paintings also conjure a myriad of art historical references, but in each case there
seems to be diversion that makes the work more uniquely made by Bernadet, and particularly
timely. Through the use of abstract form, layering of colour, a playfulness of gesture
and evidence of action, one could definitely reference Abstract Expressionism. Yet
Bernadet's work is regimented and streamlined and repeated in such a way that cancels
out its function as pure expression. The production of the paintings then relates
more conceptually to John Cage and his notions of chance. Again back to music, Cage's
compositions on one hand were open ended and playful, yet on the other hand he was
adamant about designating a thoughtful and intentional structure for them to rest
within, this gave the chance element a platform, the limitations created the locus
for meaning. Bernadet's process here provides a similar contemplative space, when
painting; he establishes a regime of mark making, a framework for expression, and
a designation of freedom. It is tightness in the structure of limitations that allows
for the looseness in the work to be registered.
One
could also recall an early 20th lineage within the works in Fugue, painters such
as Whistler, Bonnard, and Vuillard have been influential. Also the multi paneled
submersive presentation and atmospheric imagery could allude to Monet, particularly
the Lilies. But the vibration of the work is more like Monet badly printed in a
book, as if smudged or somehow faded, less direct. The image must be pulled from
century and even 19th century painting the past into the present, marked by the
limitations of representation and an awareness of paintings constantly morphing
position. Bernadet provides a way of seeing. Fugue is a diffusion of both imagery
and reference making the work urgently contemporary. The subtlety and sensation
of the works are exclusively experiential, they are nearly impossible to photograph.
When viewing one must contradict the alternative french meaning of Fugue as in to
run away; in fact they completely consume. Keeping with the rest of Jean-Baptiste
practice the pieces are experienced as collections of glimpses, ways into something,
lines that are below, behind, under on top of, or next to, grasping onto something,
momentarily, awash with multiple focal points. Like the moment of wilful suspension
of disbelief while engulfed completely in the narrative of cinema, Bernadet's paintings
offer a similar liminality. Fugue is the site of total perceptual immersion.
Jean-Baptiste
Bernadet was born in Paris in 1978. He has lived and worked in Brussels since 2000,
and was artist-in-residence at Triangle Studios in Brooklyn in 2012, APT Studios
in Brooklyn in 2011, and Chinati Foundation, Marfa, Texas, in 2010.
His
recent exhibitions include: Karma, New York NY, Valentin, Paris, Gerhard Hofland,
Amsterdam, Super Dakota, Brussels, Ricou Gallery, Brussels, Casado Santapau Gallery,
Madrid, Marfa Book Company Gallery, Marfa, Texas, TORRI, Paris, and Galerie Saks,
Geneva.
Bernadet
participated in the YOUNG BELGIAN ART PRIZE, Palais des Beaux-Arts de Bruxelles,
Brussels. (All 2013)
Forthcoming
solo shows in 2014: American Contemporary, New York NY (June), Retrospective Gallery,
Hudson, NY (September).
Bernadet
is represented by: Rod Barton, London, American Contemporary, New York NY and Valentin,
Paris.
