The Musée National Picasso-Paris, Almine Rech and Perrotin jointly present a new exhibition of French artist Claire Tabouret from October 16 to December 18, 2021 in Paris.
Perrotin presents new landscape paintings by Claire Tabouret. Transposing her chromatic system, they are singular in that they were painted on colored synthetic fur. The artist explores various photographic sources and sets her sight on reproducing the landscapes of Giorgio Morandi, Pierre Bonnard, and Ferdinand Hodler. The artist brings tension to her painting through this technical constraint, aspiring to balance her iconography and its pictorial and material incarnation according to technical-poetic variations.
This exhibition, organized in agreement with Almine Rech, is part of a traveling route in the heart of the Marais.
The Musée National Picasso-Paris hosts Baigneuse assise, a bronze fountain – the first by the artist – inspired by Picasso’s Three Women at the Fountain, an emblematic work in the Musée national Picasso-Paris collection.
Almine Rech presents a new series of works devoted to self-portraiture and group paintings.
"There are so many adventures in my painting, so many unknowns, my own dramas, my ups and downs. When I paint, I give everything, I don’t have any safety net."
The particularity of the landscape paintings shown here is that they were executed on coloured synthetic fur and were referred to by the artist in her Los Angeles studio as “fluffy landscape paintings.” [...] Their imposing size suggests something more like a thwarted approach to painting, between sensuality and the roughness of the material. Tabouret likes to test her technique, her fluency against new constraints. For this exhibition, we might speak of a dialectic of contrary gestures: confronted with these vast landscapes painted over time, with returns and an emphasis on these obdurate supports, she deploys a series of monotypes of flowers that are fluid and refined.
Claire Tabouret often recalls the seminal importance of Monet’s Water Lilies in her desire to be a painter and readily places her work under the watery sign of what moves, ever since her first paintings of “flooded houses” and her migrants’ boats. Here again, for this Parisian season, she is unfolding a set of pieces – sculptures of bathers, vases of flowers in ceramic or monotype, those vaguely Mediterranean or Californian seas-capes – whose guiding thread could be water. However, more than any theme, the point is the fluid, shifting treatment of form and, here, above all, the technique, the process. The studio flooded with water to keep the clay wet or fluidify the paint that is ineluctably absorbed by the fake fur.
If there was something tragic in Monet’s quest, with Tabouret melancholy neighbours games, playfulness and chance, which are constants in the evocation of childhood. So it is that the artist sets up a tension in her painting by means of technical constraint, aspiring to a match between her iconography and its pictorial and material embodiments, in a series of technico-poetic variations.
Painting a bouquet is often – for Renoir, for Matisse and for Hockney – a way of doing one’s scales, a kind of exercise in pure painting. Tabouret speaks of automatic writing, to be contrasted with the slow, hesitant and powerful gestation of the landscapes on carpet, a bit like interiorised recompositions, collages of multiple visual sources and sensations. By the technique of the monotype she orchestrates extremely subtle variations and permutations of colour from a single motif, thereby generating the idea of redoubling and disappearance, the kind of melancholy that-has-been which Barthes attributed to photography.
Pink or blue landscapes, myriad bouquets of roses, of tulips, of honeysuckle, like so many colorful, positive and negative combinations of lemon yellow, sea green, emerald blue, tea pink or sienna brown: Claire Tabouret creates an enchanted garden.
Born in 1981 in Pertuis, France
Lives and works in Los Angeles, USA
Claire Tabouret studied at the École des Beaux-Arts, Paris. Motivated by a sensitivity to the passing of time and the floodgates of vulnerability opened by human relationships, Tabouret’s painting practice is paced between periods of productive urgency and quiet reflection, and animated by layers, fabrics, and full, loose brushstrokes. Her hydrous palette is suspended somewhere in the ether between the synthetic hues of makeup and subdued tones of the earth, simultaneously referencing the natural and artificial ingredients of representation. Tableaux depicting bodies in confrontation, portraits, paintings of assemblies of people from young debutants to migrants at sea, and landscapes are often washed in color fields, alternately evoking the possibility of anywhere and site specificity. For her monotypes, Tabouret utilizes the phantom stains left by the press to develop transparency and opacity in her portrayals of conflict, sexuality, and desire.