drawing

Chapter 4: Days and Nights of Revolving Joy

Publié le 28 Février 2019 par sandrine llouquet

Catégories : #solo exhibition, #installation-sculpture, #animation-video, #drawing

... Until April 6, 2019 at Galerie Quynh (www.galeriequynh.com)

Chapter 4: Days and Nights of Revolving Joy

View of the exhibition (ground floor)

view of the exhibition (3d room)

Chapter 4: Days and Nights of Revolving Joy

(...) Borrowing a line from The Four Zoas, an unfinished book of mythic poems by
William Blake, the title reflects a continuous and elaborate journey of learning and discovery for the artist. The first part of the ongoing project was presented at the gallery in 2013 as Chapter 1: Where I attempt to drown the dragon. Chapitre 2: Midi was realized at L’Espace, Hanoi, Vietnam in 2015; and Chapitre 3: les 101 Grandes Déesses was shown at Le Point Commun, Annecy, France in 2017.
Chapter 4 unveils newly produced works incorporating ceramics, installation, and video that delve into ideas of identity and division, recurrent themes in Llouquet’s practice.

Llouquet’s practice is often invested in the reading and research of modern thinkers like Foucault, Nietzsche, Deleuze and Jung. In Carl Jung, Llouquet is particularly interested in his theory of archetypes. Jung’s explanation of archetypes looks at the unconscious stories and structures that are passed down through generations despite an individual’s particular circumstances of nature, nurture, and geography.

In The Four Zoas Blake intended to give his own vision of the psychic history of Man. His cosmic poetry offers an intriguing echo to Jung’s definition of the archetype despite Blake having died almost 50 years before Jung’s birth. Blake’s poetry is an outline of the unconscious forces struggling against one another in the human psyche.

This sense of fragmented, existential profundity is interwoven with Llouquet’s broken ceramics. Inspired by a recent trip to Lisbon where she encountered the painted, tin-glazed tile works known as azulejos, Llouquet travelled to Hue, the imperial capital of Vietnam, to learn more about pottery mosaic, a traditional technique using broken pottery that flourished in Hue in the 17th century.

For her new mosaics, Llouquet takes porcelain pieces, some found and others hand-painted, and shatters them into pieces before reconfiguring the shards into geometric forms. She accumulates images from disparate sources and recomposes them into new patterns and narratives. What is divided and fragmented can now be re-seen as a whole.

Chapter 4: Days and Nights of Revolving Joy unfolds as a progression from the ground floor and mezzanine which offer a mosaic of intriguing images of broken ceramics and fantastical, painted ceramic tiles towards more mysterious charcoal drawings on canvas on the second floor. The second floor back room features Days and Nights of Revolving Joy, a new video work of an esoteric ceremony. Viewers must enter a stark room with only bamboo mats on the floor to view the video, which is accessible only after scanning the QR code on their smartphones. Faithful to Llouquet’s idea of syncretism, the video is a celebration of various sources from the cult of Isis to Catholic mass to profane celebrations. The mysterious ceremony involves various rituals including dancing, a reading in Esperanto of Night the First (the first chapter of The Four Zoas), and an initiation rite. Rather than attempting to understand the content with our rational mind, the artist proposes to experience it and grasp it on another level of consciousness.

The Chymical Air, 25.3 x 35.5 cm, pencil and watercolor on paper, 2018 - courtesy Galerie Quynh

Bald prangt, den Morgen zu verkünden, 120.5 x 120.5 cm, ceramic paint on ceramic tiles, found ceramic, metal (frame), silicon and plaster, 2019 - courtesy Galerie Quynh

Bald prangt, den Morgen zu verkünden, 120.5 x 120.5 cm, ceramic paint on ceramic tiles, found ceramic, metal (frame), silicon and plaster, 2019 (detail) - courtesy Galerie Quynh

Nokta Defilado, 20x180cm (20 x 20cm each), ceramic paint on ceramic tiles, 2019 - courtesy Galerie Quynh

Nokta Defilado, 20x180cm (20 x 20cm each), ceramic paint on ceramic tiles, 2019 (detail) - courtesy Galerie Quynh

N3d, 20 x 20 cm, ceramic paint on ceramic tiles, 2019 - courtesy Galerie Quynh

N6th, 20 x 20 cm, ceramic paint on ceramic tiles, 2019 - courtesy Galerie Quynh

N9th, 20 x 20 cm, ceramic paint on ceramic tiles, 2019 - courtesy Galerie Quynh

The Song of the Aged Mother, 61.5 x 61.5 cm, ceramic paint on ceramic tiles, metal (frame), silicon and plaster, 2019 - courtesy Galerie Quynh

quod est inferius est sicut quod est superius, 61.5 x 61.5 cm, ceramic paint on ceramic tiles, metal (frame), silicon and plaster, 2019 - private collection

quod est superius est sicut quod est inferius, 61.5 x 61.5 cm, ceramic paint on ceramic tiles, metal (frame), silicon and plaster, 2019 - courtesy Galerie Quynh

Le livre des tables, 35x35cm, pencil on calligraphy paper, 2018 -- courtesy Galerie Quynh

Still Life 1, 70x70cm, Charcoal on canvas, 2019 - courtesy Galerie Quynh

Still Life 2, 70x70cm, Charcoal on canvas, 2019 - courtesy Galerie Quynh

Still Life 3, 70x70cm, Charcoal on canvas, 2019 - courtesy Galerie Quynh

Still Life 4, 70x70cm, Charcoal on canvas, 2019 - courtesy Galerie Quynh

Still Life 5, 70x70cm, Charcoal on canvas, 2019 - courtesy Galerie Quynh

Still Life 6, 70x70cm, Charcoal on canvas, 2019 - courtesy Galerie Quynh

Still Life 7, 70x70cm, Charcoal on canvas, 2019 - courtesy Galerie Quynh

Days and Nights of Revolving Joy, single channel video with sound. 35 min 13 sec, 2019 (still image from the video) - courtesy Galerie Quynh

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Chapitre 3: Les 101 Grandes Déesses

Publié le 20 Septembre 2017 par sandrine llouquet

Catégories : #solo exhibition, #installation-sculpture, #animation-video, #drawing

"Chapitre 3: Les 101 Grandes Déesses", by Sandrine Llouquet

Le Point Commun, Espace d'Art Contemporain, Annecy, France

(photos: Antony Leclerc)

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Ancient spiritual practices, esoteric rituals, re-imagined mythological imageries and religious behaviours have been at the centre of Sandrine Llouquet’s artmaking.
For many years, the French artist has been fascinated by the powerful influences that religions and beliefs have played in many aspects of the human existence, and has been searching for common connections between them to try to understand their unshakable importance in the human psyche.
Influenced by psychological and philosophical texts, such as the works of Jung and Nietzsche, Llouquet has been building an array of realms inhabited by magical, often esoteric, creatures.
In her latest solo exhibition, Chapitre 3: Les 101 Grandes Deesses, on display at Le Point Commun, Annecy, from the 15th September, Llouquet turns her gaze towards what she regards being the source of all spiritual beliefs: the Goddess.
As the title suggests, the shows is a continuation of her previous projects (Chapter 1: Where I attempt to Drown the Dragon and Chapter 2: Midi), but, most importantly, it reflects the artist’s desire of having her art considered as a whole: an organic body that evolves and expands. In fact, included among the new exhibits for Chapter 3, there are pieces selected from her recent projects, such as a mix media bust from the Cabinet of Doctor Komo and the drawing Mithra Games Grand Opening from the show Carne Vale.
Llouquet’s interest in religion lies on the evolution of its rituals, iconography and manifestations rather than on a theological perspective. With this body of work, Llouquet investigates the reasons behind the marginalisation of the female figure in contemporary religious practices.
The female archetype has been visible throughout prehistoric and ancient history (the famous Venus Figurines, for instance, are regarded as one of the oldest art on Earth), signifying the important role that female virtues had in various spiritual systems.
(…) From Palaeolithic art to Indo-Iranian religions, from contemporary tribes’ rituals to mythology, Chapitre 3: Les 101 Grandes Deesses displays a collection of images of goddesses, in the form of drawings, installations and sculptures.
However, the viewer should not expect a reproduction or a re-interpretation of such iconic figures, but rather an invitation from the artist to explore our own collective memory in interpreting the various female archetypes on display.
When talking with Llouquet about her artistic process, the words ‘alchemy’ and ‘syncretism’ are bound to come up early on in the conversation. Stemming from a personal curiosity in mythology and legends, the French artist collects images, pictures and texts, which then, like in alchemy, are transmute into esoteric worlds, where eeriness and ethereal magic live side by side.
Since moving to Ho Chi Minh City, Vietnam, 12 years ago, Caodaism (a southern Vietnamese monotheistic religion that incorporates teachings from Buddhism, Taoism, Confucianism and Christianity) has been another inspiration for Llouquet, who sees it as an example of Vietnamese cultural and its ability to freely absorb a variety of sources and merge them together without restrictions.
This same principle is applied in her work, where she creates her own universe of religious gestures, imageries, rituals and movements, and, through it, the viewers can ascertain her personal creative recollection and make it their own.

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The Cabinet of Dr Komo

Publié le 19 Octobre 2016 par sandrine llouquet

Catégories : #drawing, #installation-sculpture, #solo exhibition

“The Cabinet of Dr Komo”, by Sandrine Llouquet
KENPOKU ART 2016
(Photos Keizo Kioku)

For KENPOKU ART 2016, French artist Sandrine Llouquet conceived of an imaginary study of a Dutch doctor, a friend of the owner of Hozumike House. She researched the Kenpoku region, and inquired into various cultural aspects of the Edo period, including yokai (monstruous ghosts), misemono-goya ("freak shows") and rangaku (Dutch learning). Based on this setting and research, Llouquet created a room that showcased objects collected by this Dutch doctor. This work was based on the "cabinet of curiosities", a popular practice among aristocrats and scholars in the West between the 15th and the 18th centuries. Llouquet is interested in how objects from real life are transformed by such ritualistic contexts, and has been studying common archetypal images that can be found in oral traditions and mythology around the world. This installation was a summation of this curiosity that has led the artist on journeys across time and space.

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Carne Vale

Publié le 18 Juin 2015 par sandrine llouquet

Catégories : #drawing-walls, #group exhibition, #drawing

untitled - pencil, ink and watercolor on paper - 40.5 x 40.5cm - 2015 (courtesy Galerie Quynh)

An Opportunity to wear my Princess Dress - pencil, ink and watercolor on paper - 30 x 40.5cm - 2014 (courtesy Galerie Quynh)

Entering the Ruins of the Motley Cow - pencil, ink and watercolor on paper - 30 x 40.5cm - 2014 (Post Vidai collection)

Ergastulum - pencil, ink and watercolor on paper - 30 x 40.5cm - 2014 (courtesy Galerie Quynh)

Mithra Games Grand Opening - pencil, ink and watercolor on paper - 30 x 40.5cm - 2014 (courtesy Galerie Quynh)

untitled - pencil, ink and watercolor on paper - 30 x 40.5cm - 2014 (courtesy Galerie Quynh)

untitled - pencil, ink and watercolor on paper - 50.5 x 40.5cm - 2015 (private collection)

untitled - pencil, ink and watercolor on paper - 76 x 56cm - 2015 (private collection)

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Chapter 1: Where I attempt to drown the dragon (charcoal series)

Publié le 1 Septembre 2013 par sandrine llouquet

Catégories : #solo exhibition, #drawing-walls, #drawing