Version at Point Éphémère, Paris.
The face of a woman, staring into the void, is projected on a series of strictly parallel veils. The progression of light is gradually slowed down by layers of fabric and the image fades accordingly.
The woman whose figure seems to vanish into the picture’s black background is Marlow MossAt the forefront of avant garde, she was the first to paint parallel lines crossing. Yet, she disappeared from Art History, shadowed by Piet Mondrian.
She is often considered as one of his minor follower although the letters they exchange evidences she actually had a great influence on the male painter.
Version at Point Éphémère, Paris.
« Long, he believed he was a photographer. But what Emmanuel Guillaud captures becomes raw material for his labyrinthine installations. He composes “black boxes”—dark environments revealed by projections.
Immersed in this device, spectators become actors in a theater of shadows, and the artist, a “master of phantasmagoria”. […]
During a performance, the veils are torn away. The face of the forgotten artist remains as nothing more than a pure ray of light.
[…] Even if untitled (lines) no longer deals with a “black box,” the phantasmagorical dimension remains. The face of a woman, staring into the void, is projected on veils. The light slows down through layers of fabric, and the image fades. Guillaud honors Marlow Moss, avant-garde artist and co-founder of Abstraction-Création, overshadowed by Piet Mondrian. »
Manon Klein, curator. Text from the exhibition catalogue.
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exhibitions
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