Frédérique Loutz
Idiomesfrom September 8 to October 27 - 2012
printFrédérique Loutz's reputation may precede her in this fourth personal show at the gallery. Indeed when you see the shimmering shades and layers in the large canvases exhibited here, you can identify the ways her work has been depicted so far. Multitude, incongruity, strength and consistency still do define her neverending exploration of drawing, although now she makes it even faster and more surprising, by extending her practice to the use of oil painting and the energy of performance.
Frédérique Loutz is a secretive person, which her work only partly belies. To make it easier to travel all over the mixed landscape of this selection of works, here are a few facts about the artist :
She started a long time ago and is far from having finished. She likes neither objects nor subjects. She rules nothing. The population of diverse figures she lives with and brings to life is her equal. She crossbreeds and rushes shapes, not to complicate them, but to the contrary, to recover the innocence drawing demands. She mixes techniques, not to combine or confuse them, but to allow contrast to set them apart. She permanently tries to renew what she traces, and succeeds without quite making it. The recurring patterns in her work over the years are both recognizable and never quite the same. Frédérique Loutz lies within this identity that relates, looks back, and doesn't resemble itself any more. She constantly travels and sends us news from the front. She speaks several languages and makes us read them all at a time, teaching us her own personal dialect. She tells no stories and knows only of the concrete world. She doesn't play games with us. She doesn't mind being understood, as long as no one requires that she makes herself clear. On the other hand, she gives all the clues.
I make use of mythology and tales, because there is no psychology, only actions. In my work as far as I'm concerned, there is no tragedy, no humour, no drama and nothing absurd, just an inversion of worlds without hope or salvation. I blend repertoires to specify the addresses. Playing with sense and sound are gymnastics that strengthen the physical move.*
Frédérique Loutz is a secretive person, which her work only partly belies. To make it easier to travel all over the mixed landscape of this selection of works, here are a few facts about the artist :
She started a long time ago and is far from having finished. She likes neither objects nor subjects. She rules nothing. The population of diverse figures she lives with and brings to life is her equal. She crossbreeds and rushes shapes, not to complicate them, but to the contrary, to recover the innocence drawing demands. She mixes techniques, not to combine or confuse them, but to allow contrast to set them apart. She permanently tries to renew what she traces, and succeeds without quite making it. The recurring patterns in her work over the years are both recognizable and never quite the same. Frédérique Loutz lies within this identity that relates, looks back, and doesn't resemble itself any more. She constantly travels and sends us news from the front. She speaks several languages and makes us read them all at a time, teaching us her own personal dialect. She tells no stories and knows only of the concrete world. She doesn't play games with us. She doesn't mind being understood, as long as no one requires that she makes herself clear. On the other hand, she gives all the clues.
I make use of mythology and tales, because there is no psychology, only actions. In my work as far as I'm concerned, there is no tragedy, no humour, no drama and nothing absurd, just an inversion of worlds without hope or salvation. I blend repertoires to specify the addresses. Playing with sense and sound are gymnastics that strengthen the physical move.*