Posted on
2015-06-15
Since 2007, Corinne Laroche has been developing a drawing style where a grid constitutes the basic structure, the point of reference and the horizon. This grid is kept more or less visible on the surface, but it is still very much present and allows the intensive and expansive spreading of a simple gesture, not unlike doodling. Once settled, this protocol eludes the questions of compositional choice and technique in order to favour an intuitive approach, just like musical improvisation relies on invisible sheet music.
Talking about sheet music, it was Bach’s The Art of Fugue that gave its name to the series of drawings making up the heart of the exhibition, Rectus-Inversus. “This music reveals imperturbable and perfectly controlled rhythmic properties creating incredible mental concentration; its composition is a set of melodic writings superimposing back and front, shape and counter shape”. Created in 2010 and made up of four diptychs, Rectus-Inversus is based on the pixels of a digital image that forms a starting draft. Each draft generates two two-part drawings, one being the negative of the other one. Presented the same year in Berlin (2010), Rectus-Inversus then provided the matrix of a new set of drawings called Extensions I. These three moments in the development of the piece, from the creation of a draft to the creation of a first set of drawings and its resumption, form the segment of what may be seen as a single drawing, or design: to connect them with moments, spaces, to make them belong to a vital flow of creation appearing afterwards thus gradually creating a “personal geography”.
Opposite – Flux cadmium I (detail) – 2015
Exhibition runs through to July 11th, 2015
Galerie Laurent Mueller
75 rue des Archives
75003 Paris
France
www.galerielaurentmueller.com
