Cas de figure
Galerie Trois Points is thrilled to present Cas de figure, a group exhibition featuring Evergon, Richard Mill, Natascha Niederstrass and Natalie Reis from November 22nd to December 20th. Paintings and photographs from these four artists celebrate human figure through various references to art and architecture history.
Here, Evergon hands it over to Eve R. Gonzalz, his creative alter ego birthed (surprisingly) at the age of 80. Active since the late 1980’s, Eve R. photographed the great museums and cemeteries of Paris, Rome, Florence, Palermo, Genoa and Buenos Aires. Wrapped in her traditional Argentine shawl and secreting her small Olympus camera, she re-eroticized and de-Jansonized the great sculptural icons of Western art – some of which being featured in this exhibition.
The respected art historian H. W. Janson (1913 – 1982) had an impact on many generations of scholars. He also has been highly criticized for writing women off western art history. The Eve R. Gonzalez attempt of a feminist revision of art history is also key to understand Natalie Reis’ series of paintings. In these works, Reis revisits art history icons – Rubens, Poussin, etc. – in order to emphasize the way they treated the feminine figures. While completely erasing the male characters from the original compositions, Reis highlights the incongruity of the expression on the women’s faces, which seem to be almost ecstatic in this extremely violent scene. A virtual gap is formed between the source image and it’s newly painted personification, disrupting our preconceptions and inviting us to enter a new awareness.
With Richard Mill, the presence of the body – the painter’s – is strongly felt in the gesture, the large (human) scale formats, and even more in the highly physical, even visceral, way he works with paint. Without having to go through think layers of paint, Mill manages to translate the materiality of the medium through solid and thin color application. Although one can literally feel physically wrapped in color, the painter worked to systematically bring the eye back to the surface, subtly hinting to the canvas’ rawness suggesting a female profile, back to the physicality of the painting with the incorporation of sculptural elements.
Natascha Niederstrass reappropriates the typically pictorial specific language of chiaroscuro through highly staged photographs, offering to the viewer a Caravagesque genre scene. Interested by ambiguous narrative, she here revisits a series of paintings by British artists Walter Sickert (1860 – 1942) in uncanny mises en scenes featuring a nude female character and a fully clothed man. If the narrative behind The Camden Town Murder series is not necessary to appreciate the work, it gives depth to the interpretation, knowing that Walter Sickert was one of the first suspects to be interrogated in the case of Jack the Ripper. Niederstrass obviously likes to play with the enigmatic, leaving open a multiplicity of possible narratives.