Galerie Richard

ANDERSON, GONZÁLEZ, HEUZÉ, MARSOLIER, THOMAS - Gocha

Press release

“Gocha Gocha” in Japanese means a mixture of very varied things. The Gocha exhibition, which brings together five artists, three painters, a photographer and a sculptor, reflects the diversity of the gallery’s programme.

The works of Scott Anderson have been described by art critic David Pagel as a ‘dystopian abstraction. We gradually perceive faces, characters who respect no perspective as to their size and who come from different iconography of all kinds and all eras. His paintings reflect the cultural upheavals of our troubled times and invite us to contemplate fragments of the present time in the modern city and its mysterious inhabitants.

This is the first presentation of Dionisio González’s photographs at Galerie Richard in Paris, while Galerie Richard in New York has presented it seven times since 2011. The gallery presents works from the series Inter-Acciones and Trans-Acciones, both of which deal with the relationship between nature, time, architecture, climate change. Each work represents a virtual construction in the present time, with a futuristic aspect and also aged in landscapes of Spain and Alabama in the United States.

Advances in genetics and surgery open the imagination to all kinds of combinations of hybrid beings, half-human-half-animal. This brought the painter Hervé Heuzé back to the representations of deities in the mythologies notably Greek and Roman, Hindu and Aztec. When the animal was not plastically suitable for hybridization with man he represented it in another relationship inspired by literature (The Master and Margarita by Mikhail Bulgakov) and cinema (King Kong)…

Lauren Marsolier’s photographic landscapes are ambivalent, familiar and yet not identifiable. His work probes our relationship to a globalized world, marked by the loss of certainties and a general impression of uprooting. It builds an experiential bridge between oneself and the environment, confusing physical landscape and landscape of mind. «The works exist in an in-between, as if in suspense, between fiction and document, between virtual and physical reality» (George Elrod, art critic).

By injecting air into steel that has become malleable after being heated to 1000 degrees Celsius, Jeremy Thomas creates and develops from two-dimensional geometric shapes a new vocabulary of spontaneous shapes, organic and sensual that it can combine with other three-dimensional abstract languages. The unpainted part is treated to give it a raw rusty appearance, which contrasts remarkably with the refinement of surfaces painted with metal paints for automobiles or with nail polish for small sculptures.

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