Expo de New York, suite en revue !

08/02/2014 10:58

Ce matin je reçois un email de la Montserrat Gallery Chelsea New York (USA) dans laquelle j’ai exposé en septembre 2013 avec Artitude et ArtYou. Je vous le transmets tel quel. Il concerne une parution dans le journal des actualités des galeries New Yorkaises, journal dont j’espère pouvoir obtenir un exemplaire. Bien sûr cet article ne parle pas que de moi mais du groupe d’exposants dont je faisais partie, ne l’oublions pas !

Dear artists and friends,

The new Gallery & Studio magazine is just out. The spread looks great covering each of you as part of the French show last September. Of course each of you got reviewed with an image and others were just mentioned. This format is much more meaningful as it is written as a review and the writing is excellent. I am sure you will like what was said about your work. We need to discuss how to get you some magazine copies. To keep expense down, they should be sent to one person in a box and then distributed from there. You can decide this. For now I have attached a pdf file of the article. Of course it is in english and I hope you will have a person who can translate the expressive and subtle language used to talk about your work.

I want to hear from you. Let me know how we can work together planning a solo show, group show or your participation in the salon.

I hope you all are being creative and enjoying life.

All the best,

Richard

The French Connection: From Paris to New York

Also from Gallerie Artitude, Isabelle Morin, appears as fascinated with water and waves as the great Japanese Uyiko-e master Hokusai. The foamy fluidity with which she delineates the rhythmic flow of the sea with lusciously thick impasto animates her compositions with life and immediacy. In her painting “Storm,” her strokes capture the curvaceous energy of a white-peaked blue wave rolling towards an unseen shore. Morin makes the frothy white shape of the wave appear as alive as the curve of the neck and mane of a warrior’s horse in a classical painting.

By contrast, in Morin’s “Wave III,” the drops of foam at the top of a wave at the edge of the shore where the sand begins, on what, judging from the light, must be a sunny day, sparkle rather than storms, breaking into drops as bright as stars. Indeed, one cannot remember seeing another artist who depicts so many different aspects of watery places ranging from “Spring Wave,” in which the foam is as virgin white as carnations and the water itself as luminously green as newgrown grass; to “Trio,” in which Morin steps further back from the subject of her obsession to depict an entire marinescape, with lower rolling waves in gently toward the foreground, and the late afternoon sun casting a path of blinding white light over the water just before sinking behind the pale blue mountains on the opposite shore.

In the only photograph one has seen of Isabelle Morin, she is cloaked in a white fur jacket in a folding chair on the wet deck of a tour boat intently sketching in a watercolor pad: an artist very much in her element.

FEBRUARY/MARCH 2014

GALLERY&STUDIO 11

Montserrat gallery Chelsea Manhattan New York USA.

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