Rose Apotheose, by Le Meur
Nov.16, 2018 - Feb. 2, 2019. Paris. More info
la prolongation de mon exposition, Rose Apothéose,
à la galerie Charlot jusqu'au 2 février.
Aura lieu un finissage, en nocturne, 19-21h, ce jeudi 24 janvier, avec présentation d'un livret.
Charlot and Le Meur keep going along on their shapes (fuzzy blobs and vibrations) and their show format : generative video, partly transposed into recorded video and still pictures.
The major point here is the dominant color, rose, of different shades, but generally quite saturated. The result is sometimes quite provocative, like the images we show at right. It let's you, if you want, make your semantics. For instance "emerald in a Chines low-cut".
Technically more ambitous, Vermille version 3 (2018) is a generative video combining the favourite shapes and moves of Le Meur, with a lot of variations which probably will never generate twice the same image. And not even let you predict the next evolution. You have to accept that the piece has it's own life.
Presentation by the gallery.
" For her fourth exhibition at the Galerie Charlot, she who had accustomed us to her intense black backgrounds, Anne-Sarah Le Meur is changing tack: make way for pink! Pink chewing gum or fuchsia, old pink, parma perhaps?, pink apricot-pale skin, fresh pink, milky pink...
" The exhibition Rose Apothéose brings together prints, video and generative works. In the continuity of the great painters obsessed with colourful sensations, Anne-Sarah Le Meur tirelessly explores the relationships of tones, sharp or blurred, textures, fibrous or silky, wave rhythms... By loops, combinatories and constant variations on numbers, slow metamorphoses become caresses or joyful brusqueness for the eyes. Erotic, this abstraction?
"Anne-Sarah Le Meur’s 3D space has the particularity of being «diminished», paradoxically reduced to a moving surface, therefore in small volume, in an interval of almost thickness. While our society constantly encourages the fastest, largest, most visible..., this artist’s ambition aims for a «less», for a «better»: her volume brings tiny but subtle plastic effects linked to perspective.