Painting
Elissa MARCHAL
Sculpture
Elissa MARCHAL

Introduction

The gallery baudoin lebon is honoured to present for the first time the work of Elissa Marchal as its first exhibition of the new year. This plastician, whose career has not been a straight line, proposes in her work to question the fundamentals of painting.  Our preconceived notions about the roles and effects of the material, the space, the colour, the shape,  or the support in the creation of a painterly object are swept away by her practice, as to give us a new outlook on what we thought we knew.

Biography

Born in Paris in 1973 where she lives and works, Elissa Marchal belongs to this generation of artist that followed in the footsteps of both the twentieth century abstraction movements, and the Modernist of the twenty-first century such as Mondrian and Matisse. Not only does her work recall those past greats, it also aims to renew and refresh those artistic concepts. Her work is a continual reflexion on the role of shape and colour within the medium of painting. She has often participated to the ?Salon de Montrouge? and the ?Salon des Réalités Nouvelles? which are two mainstay of the French art scene to discover new talented artists.

 

Solo shows


2017
 Galerie Anne-Laure Jalouneix (Bordeaux), "Horizons et Sédimentations"
Château de Chassagne-Montrachet (Bourgogne), "Horizons"


2014
Galerie Anne-Laure Jalouneix (Bordeaux) , "Medium 1.14 - Horizontales et verticales"


2013
Galerie du Haut-Pavé (Paris), "Assemblages"

 

Group shows

2017

Galerie Wagner (Le Touquet), "Couleurs plurielles" "De l'original au multiple"
"Lignes, Harmonies et Contrepoints"
Galerie du Haut-Pavé (Paris) Exposition événement à l'occasion de la sortie du catalogue 2007-2017
Carrément 4 (Paris)


2016

Galerie Wagner (Le Touquet) "Hommage au carré"
Galerie du Haut-Pavé (Paris) "Petits formats"


2015

Galerie du Haut-Pavé (Paris) "De rendez-vous en rendez-vous"
Gallery Satoru (Tokyo, Japon) "Thought on Paper"


2014

Galerie du Haut-Pavé (Paris) "De rendez-vous en rendez-vous"
Galerie ParisCONCRET (Paris) "Toujours simple"
Service Culturel de Gentilly Propositions d'acquisition pour le Fonds Municipal d'Art Contemporain

Galerie Le Corbusier, Trappes-en-Yvelines, "Regard sur la jeune abstraction contemporaine"


2013

Service Culturel de Gentilly "Couleurs, lueurs &co"
Galerie Paris CONCRET (Paris) "Line upon line"


2012

« Novembre à Vitry »


2011

« Novembre à Vitry »


2010

Gallery Satoru (Tokyo, Japon)


2009

Tokyo Contemporary Art Fair (Galerie Satoru)


2008

Salon de Mai
2007

« Novembre à Vitry »
Salon de Montrouge
Salon des Réalités Nouvelles
Gallery Satoru (Tokyo, Japon)


2006

Centre culturel de St-Genis-Pouilly (Ain)
Salon de Montrouge
Salon des Réalités Nouvelles


2005

Salon des Réalités Nouvelles

2004

Salon des Réalités Nouvelles

 

public collections

For example, while maintaining a homogeneous texture of colour in her Constructions, Elissa Marchal creates a paradoxical lightness to her intricate sculptural works by dripping paint on its extremities with colour gradients. The contradiction that emerges between the material, the technique and the colour permits to create a painterly composition without any strokes, something that is new, more physical than traditional painting and yet that links to former influences such as Jackson Pollock and Frank Stella.

This technical and theoretical exploration continues with the Jalousies, Cadres and the Horizon series, where colours, reflection and emptiness question the boundaries between different mediums. In the Cadres series Elissa Marchal uses only one constitutive elements of the painting medium, its frame, to create an object that challenges the traditional perception of image making.

Similarly, Jalousies with its at first subtle linearity and minimalistic appeal, unveils through thin reflections of colour on the white wall a larger problematic. What are the limits of the art object and what parts of the spectactor?s subjectivity plays into this conceptual construction.  Both art and spectator are at constant interplay.

A process that continues with the Horizon series. The spectator is confronted to the double perception of attraction and repulsion, through the contrast of two equally sized coloured rectangle, and the creation of a border between both on the painting. This new frontier of colour, thus, permits an infinite reading and aesthetic experience, varying between its two minimalistic but intense poles.