VICKY COLOMBETEARTH

VICKY COLOMBETEARTHOctober 22 - December 19, 2014

“EARTH”Nena Tsouti-Schillinger, 2014

I have to render myself to what surrounds me…. I have to morph into a union with the clouds and the rocks, in order to be what I am.

Caspar David Friedrich

The home page of Vicky Colombet’s website greets us with a photograph of the artist as a traditional manual laborer. The photograph has a dramatic immediacy. Working on her Glass Wall (2005-12), a permanent site-specific installation, Colombet is seen dressed with a laborer’s full body white suit standing on a ladder while drawing and cutting vinyl around an elevated courtyard pool at the Villa Nurbs near Barcelona, Spain.

A collaboration with the Spanish architect of this unconventional house, Enric Ruiz-Geli, Colombet’s mural, as she herself stated, “was inspired by an aerial view of the real topography of canals, ocean and sky surrounding the house, which is conceived as a linear landscape, folded onto the site in an ascending spiral. The project evolved from a painting laminated be-tween curved glass of 150 X 12 feet that surrounds the pool in the middle of the house and opens to the sky through a sandblasted glass.” Certainly the process recalls Land art and Robert Smithson who once said “Instead of putting a work of art on some land, some land is put into the work of art.”

While Colombet is best known as an abstract paint-er of reductive poetic canvases, over the years

mirror and sandblasted glass have found their ways into her repertoire, which, in keeping with her work in other mediums (photographs and digital prints), include depictions of severely reduced landscapes.

In her Fibonacci Table (2011), for instance, the etched glass forms on the tondo evoke allusions to natural systems. It is also interesting to mention that the seven bronze legs of the table are numbered following the Fibonacci sequence—after the greatest Italian mathematician of the Middle Ages. Each sub-sequent number on the table leg is the sum of the previous two (1, 1, 2, 3). This mathematic sequence applies to nature as well as landscape.

But nevertheless, it is the act of painting that remains the absolute center of Colombet’s life. Often topographical in character, her abstract pieces utilize systematic arrangements of line, color and space. Visually evocative and perceptually seductive, her densely layered canvases are at once organic and highly structured.

Colombet works in series--one series evolves into another, which in turn evolves into yet another. Or to quote Robert Morris when he was asked how he

came up with the idea of working in series “I think Wittgenstein’s term ‘family resemblance’ might be just as good or better than the notion of ‘series.’” Inspired by the change of seasons in her upstate New York countryside studio, the artist began working on her new “down to earth” pieces entitled Earth in early 2014.

As with her earlier works, Asian philosophy is one of the important threads that run through this new series, as nature appears evocative and elusive rather than descriptive—all representational elements having been removed. The artist explains that she is looking for this split second where we don’t know what we are looking at—to free the viewer of preconceived ideas “idées toute faites.” This idea is further emphasized in a number of her Earth paintings as she has deliber-ately left some areas of the canvas blank in order to “enhance” the fragility, the disappearance of what we see. In some instances as much as 30% of the canvas remains void, yet the entire painting is suffused with the sense of a “mist” recalling landscapes of the Chinese Song Dynasty masters.

Colombet has been recognized for her commitment to process and her ability to create paintings in which the surfaces, although from distance seem textural and tac-tile, are in fact seductively smooth, strangely matte, and remarkably fluid (because she is adding alkyd, mineral spirit and wax to her oil paint). Using the fold marks mostly—the smallest representation of the world asexplained in The Fold by the French philosopher Gilles Deleuze in his interpretation of the theory of “monads” by the German mathematician Gottfried Leibniz—the canvas is further manipulated to form crevices, which the artist then “follows” with precision with soft brush-es revealing rather than concealing the characteristics

of the surface, while in the process she is further re-moving the traces of the brushstroke.

However, unlike her earlier series, in the Earth large paintings, the artist is working on raw linen canvas pre-pared with rabbit skin glue. The brown canvas being a metaphor of the earth—earth pigments/particules/earth.

Colombet uses a variety of colors to create her dazzling works, which she tends to change from series to series. In her Earth pieces, which are nearly monochromatic, she uses a range of black and white pigments as well as indigo, turquoise, and lapis-lazuli blue. But in “Earth Series“#1313, 2014 a strikingly large canvas, the predominant shade is red ochre, a color which she has never used before. Asked why she chose red color, the artist replied that it suggests the red ochre of the soil of the South of France--alluding to the iron-rich landscape of that area.

Creating astonishing visual experiences, the artist’s works invite closer examination of and larger thinking about the natural world, which surrounds us. Abstract to the casual glance, one might even say that per-haps her landscapes are not landscapes at all but are instead states of mind, a state of dreamlike vision. A patient observer however, is rewarded, as with time, Vicky Colombet’s “canvas-landscapes” will slowly open up, revealing forms and colors which seem to evoke natural systems—a painting has secrets; a spectator has questions. The conversation begins.

“Earth Series” #1311, 2014

“Earth Series” Triptych #1304;1305;1306, 2014

Above: Triptych detail, panel #1304Right: Triptych detail, panel #1305 Triptych detail, panel #1306

“Earth Series” #1313, 2014

“Earth Series” Triptych #1307; 1308; 1309, 2014

Top: Triptych detail, panel #1307Bottom: Triptych detail, panel #1308

“Earth Series” #1315, 2014

“Earth Series” #1314, 2014,

Top: “Hudson series” 1, 2013-2014Bottom: “Hudson series“ 2, 2013-2014Right: “Hudson series“ 3, 2013-2014

“Earth Series” #1310, 2014

“Hudson series” 4, 2013-2014Right: “Hudson series” 5, 2013-2014

“Hudson series” 4, 2013-2014Right: “Hudson series” 5, 2013-2014

“Earth Series” #13112014, 62” x 62”Oil, pigments, alkyd, wax on canvas.

“Earth Series” Triptych #1304,1305,13062014, 7 13/16” x 8 11/16” Oil, pigments, alkyd, wax on canvas.

“Earth Series” #13132014, 78” x 78”Oil, pigments, alkyd, wax on canvas.

“Earth Series” Triptych 2014, #1307,1308,13095 1/2” x 8 11/16”Oil, pigments, alkyd, wax on canvas.

“Earth Series” #13102014, 78” x 78”Oil, pigments, alkyd, wax on canvas.

“Hudson Series” 42013-2014, 9” x 14” Digital print on vellum.

“Hudson Series” 52013-2014, 9” x 14” Digital print on vellum.

“Earth Series” #13152014, 36” x 36” Oil, pigments, alkyd, wax on canvas.

“Earth Series” #13142014, 76” x 60”Oil, pigments, alkyd, wax on canvas.

“Hudson Series” 12013-2014, 9” x 14” Digital print on vellum.

“Hudson Series” 22013-2014, 9” x 14” Digital print on vellum.

“Hudson Series” 32013-2014, 9” x 14” Digital print on vellum.

CHECKLIST

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Solo Exhibitions

2014 “Earth“, Christian Duvernois Landscape/Gallery, New York, NY2009 Dutko Gallery, Paris, France | Bleu Acier, Tampa, FL2008 “Vantage Points” Evo Gallery, Santa Fe,NM2007 “Difference and Repetition” Haim Chanin Fine Arts, New York, NY | Fidel Balaguer Gallery, Barcelona, Spain (catalogue)2006 Evo Gallery, Santa Fe, NM2004 Haim Chanin Fine Arts, New York, NY (catalogue) | Evo Gallery, Santa Fe, NM2003 Meserve-Coale Gallery, Greenwich, CT2002 Evo Gallery, Santa Fe,NM2000 Zographia Gallery, Bordeaux, France1999 J. Guhl gallery, Montreux, Switzerland1997 Chateau de Servieres, Marseille, France1995 Alain Margaron Gallery, Paris, France1994 De la Gare Gallery, Bonnieux, France1993 Busch Gallery, Berlin, Germany | J.Guhl Gallery, Montreux, Switzerland1991 Busch Gallery, Berlin, Germany | J. Guhl Gallery, Montreux, Switzerland1990 Rolf Wah Gallery, Paris, France | Corinne Timsit Gallery, San Juan, Puerto Rico1989 Pavillon Ledoyen, Paris, France | Corinne Timsit Gallery, Paris, France1988 A.O Gallery, Antibes, France | Corinne Timsit Gallery, Paris, France1987 Mossa Gallery/Museum of Nice, Nice, France1986 Corinne Timsit Gallery, Paris, France1985 Excentric Gallery, Liege, Belgium

Group Exhibitions

2014 “Distilled” Bernard Jacobson Gallery, New York, NY 2014 “Sempre Natura”, Christian Duvernois Landscape/Gallery, New York, NY2013 “A Year in Preview” Christian Duvernois Landscape/Gallery, New York, NY2012 “Coherent Surface, Radiant Light” Bernard Jacobson Gallery, New York, NY | “Of White” Nuartlink, Westport, CT2011 “Design is Design is not Design” Gwangju Design Biennale Curated by Chinese artist Ai WeiWei and Korean architect Seung H-Sang. Korea“Cumulus Momentum” project, La Cité Radieuse/Le Corbusier, Marseille, France

2009 WAAM Museum, Woodstock, NY2008 Art Paris, Haim Chanin Fine Arts, New York, NY | Haim Chanin Fine Arts, New York, NY | Jean Jacques Dutko Gallery, Paris, France2007 Water & Dreams, Galerie Kamchatka, Paris, France (catalogue) Evo Gallery, Santa Fe, NM | Art Paris, Haim Chanin Fine Arts, New York, NY | Chicago Art Fair, Bleu Acier, Tampa, FL2006 St Petersburg Museum, Florida | “Black and White Abstractions” Haim Chanin Fine Arts, New York, NY | “Drawing on the Wrong Side of the Brain” Curated by Lyle Rexer, Haim Chanin Fine Arts, New York, NY | ARCO, Haim Chanin Fine Arts & Artecite, Spain | Art Paris, Haim Chanin Fine Arts & Artecite, Paris, France | Girona Contemporary Art Fair, Fidel Balaguer Gallery & Artecite, Spain | Toronto Contemporary Art Fair, Caroline Dimnik Contemporary, Canada | “Entre Chien et Loup” Bleu Acier, Tampa, FL “Bridge” Miami Art Fair, Bleu Acier, Tampa, FL (catalogue) | EFA Open Studios, New York, NY2005 Parrish Art Museum, Southampton, NY | Contemporary Art Fair New York, Evo Gallery, NM | Istan bul Art Fair, Artecite, Turkey EFA Open Studios, New York, NY2004 “Wind”, Haim Chanin Fine Arts, New York, NY (catalogue) | San Francisco Art Fair, Evo Gallery | Chicago Art fair, Evo Gallery | Art Paris Art Fair, Haim Chanin Fine Arts/Artecite, France2003 Chicago Art Fair, Evo Gallery | San Francisco Art Fair, Evo Gallery| “Works on Paper”, Evo Gallery, Santa Fe | Art Santa Fe, Evo Gallery, Santa Fe, NM2002 Evo Gallery, Santa Fe, NM | Matarasso Gallery, Nice, France Affordable Art Fair New York, Evo Gal lery2001 Original Gallery, Nice, France2000 Nicholas Davies Gallery, New York, NY1999 Nicholas Davies Gallery, New York, NY | Astarte Gallery, Madrid, Spain1998 Chateau de Servieres, Marseille, France1997 SAGA, Climats Gallery, Paris, France | Verena Hoffer Gallery, Barcelona, Spain | De la Gare Gallery, Bonnieux, France | Carre d’Art Saint Anne, Montpellier, France1996 J. Guhl Gallery, Montreux, Switzerland | Alain Margaron Gallery, Paris, France1993 Rene Metras Gallery, Barcelona, Spain1992 Miami Art Fair, Corinne Timsit Gallery, Miami, FL | Kladno Museum, Prague, Czech Republic1988 Art Junction, A.O Gallery, Nice, France1986 Schwabisch-Gmund Museum, Germany

Videos/Films:

2011-2014 “The Glass Wall” Documentary by Joan Freeman, Caliban Productions, Santa Monica, CA | TVE “Continuara” Barcelona, Spain. 2012 | TVE “Continuara” Barcelona, Spain. 2007 | CUNY TV & PBS “Can-apé”, New York, NY 2004 | Esec, Cinema School of Paris: “Ce qui permet le regard”, France. 2001 | Art Video: Berlin Direction, Germany. 1993 | TV 5 Paris, France. 1992

Grants/Awards/Residencies:

2014 The Pollock-Krasner Foundation Grant | 2011-2013 Elizabeth Foundation for the Arts Studio Program, New York | 2004-2011 Elizabeth Foundation for the Arts Studio Program, New York | 2001 Adolph and Esther Gottlieb Foundation Prize | 2000 DRAC, Languedoc et Roussillon, France

Collaborative Projects:

2013-2014 “a-r-o-s-e” Collaborative Project with the Landscape architect Lily Jencks, for a large Public glass sculpture/garden, in Paris (Rubis Mécénat Cultural Fund) | 2013 The Smithsonian: Invitation to participate in a design competition for a 21st century landmark for the interior of the spectacular Grand Salon of the Renwick Gallery, Washington, DC | 2012 “Forbidden City” Collaborative Project with Christian Duvernois Gardens, Glass Tondo etched for a Chinese Garden in New York City | 2005-2012 “Villa Nurbs” Collab-orative Project with the architect Enric Ruiz-Geli. Monumental Etched Glass, Barcelona, Spain | “Cumulus Momentum” project, collaboration with the artist Lucile Bertrand at La Cité Radieuse/Le Corbusier, Marseille, France.

Colombet has shown internationally in galleries and museums. Her work is in major private and public collec-tions in Europe and the United States.

Bibliography

2012 “Coherent Surface, Radiant Light”, Art News, New York. September 2012 2011 “Un nuage créatif s’accroche à la Cité radieuse”, Marseille, La Provence, June 20112010 “At Home With Town & Country” Sarah Medford, Hearst Books, 2010 2009 “Do It Today: Terres De Brume, Creative Loafing, Tampa Dec 2009 “On the Radar: Vicky Colombet: Terres de Brume / A New Geography at Bleu Acier”, Creative Loafing, Tampa, Oct 2009 2008 Marché de l’Art, Carré Rive Gauche, Paris Journal des Arts Mai-Juin 2008 The New York Times Style Magazine - “Mood Swing - Design Spring 2008” Dutko et l’Île aux trésors, Paris, Elle Décoration, Novembre 2008

2007 “Vicky Colombet at Haim Chanin Fine Arts”,artforum.com’s “Critics’ Picks”,T. Nikki Cesare, Sept 2007 Lyle Rexer, “On Not Knowing Where to Stand”, Galeria Fidel Balaguer, Barcelona, Spain. April 2007 “Inspiracion Fotografica”, La Vanguardia, Barcelona, Spain. April 2007 “Vicky Colombet, Fidel Balaguer”, Montse Frisach, Avui,. April 2007 “Vertigens visuals I oscil-lacions tàctils”. Bonart,. April 2007 “Vicky Colombet a la Galeria Fidel Balaguer”, Bonart. May 2007 “Starting all Over”, Julie V.Iovine, Town and Country, USA. February 2007 2006 “Santa Fe Preview” Sarah S. King, Art in America, USA. June/July 2006 “’Art of Conversation”, St. Petersburgh Museum of Fine Arts, Megan Voeller, Creative Loafing Tampa, Tampa, USA. June 2006 2005 “Vicky Colombet at Haim Chanin” Jonathan Goodman, Art in America, USA. February 20052004 Nena Tsouti-Schilinger, “Nothing to see from the Ground” (catalog) Haim Chanin Fine Art , New York--Evo Gallery, Santa Fe “Simplicity and Complexity”, Dottie Indyke, Albuquerque Journal, USA. November 2004 Vicky Colombet ou la géographie de la sérénité. Virginie Poitrasson, FIAF: Le magazine, New York, USA. September 2004 Colombet’s Iconography of Zen, L.P. Streitfeld, Art, The Advocate & Greenwich Time, Connecticut, USA. May 20042003 “Vicky Colombet at Evo” Sarah S. King, Art in America, USA. July 2003 2002 “Urban Landscapes”, The Magazine, Santa Fe, USA. September 20022000 “Conjectures sur l’oeuvre d’une peintre” -- Une peinture de l’en deçà du visible, José R. dos Santos, Lecture: “Art and Science”, Evora University, Portugal. August 2000 “Origines”, Clo Caldairou, Nice Matin, France. March 20001999 “Pour être une rivière qui coule”, Mireille Schnorf, La Presse Riviera/Chablais, Suisse. October 1999 “Le temps qui fuit et ne revient pas”, Vevey Hebdo, Suisse. October 1999 1997 “El silenci I la informacio”, Catalina Serra, El Pais, Barcelona, Spain. June 1997 “Ces paysages où les yeux se posent”, La Marseillaise, France. May 1997 “Quatre visions abstraites hantent le carré Sainte-Anne”, Lise Ott, Midi Libre, France. November 1997 “Abstractions au Carré Sainte-Anne”, Lise Ott, Midi Libre, France. October 1997 “Les Musées” , La Provence, France. September 19971993 “Quelque part, une âme…” , Vevey Hebdo, Suisse. December 1993 “Dialogues de l’eau et des pierres”, Mireille Schnorf, La Presse Riviera/Chablais, Suisse. November 1993 “Vicky Colombet ou la peinture de la fluidité”. Sandrine Frey, Eveil Culturel, Suisse. October 19931989 Christiane Rochefort. (catalog) Corinne Timsit Gallery, Paris, France.

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