Anne-Lise Coste
"d5919bcc3aeeb621e64daf06b703c106"
16.09. - 29.10.2011
– painting and new york –
i moved to NY april 1, 2010, into a handsome apartment on the upper west side. it’s the lay of the land that made things happen, I’m happy, there’s a handsome tall tree outside my window where handsome birds (red cardinal, blue jay) land and sing. it’s very calm here, gentle and luminous, there’s the sky that opens above my bed. the sounds of the city that reach me are ambulance sirens and planes landing in the distance.
I get the exact opposite when going down into the subway nearby: the underground, the deafening, the withering, black, neon, metal, asphalt and concrete. and the rats and cockroaches race. humans are another story.
in may 2010 i was drawing on the table (in the living room of my apartment) on paper, horizontally, with an 8B soft pencil and a ruler. what came out were the series “cages,” “penetrations,” “pedestals (Mondrian)” and “architectures.”
at the end of the summer, paper felt insufficiently there: i discovered the wood panel.
so i continued the first oil paintings (see the oils from berlin, in the reinhard hauff archives) with the series “sort of letters” and the series “sort of cubes,” as the name indicates, you can see letters and cubes in thick spaces of titanium white.
I was very sick in october, the smell of oil made me worse, i therefore switched to tempera on paper and primed canvas, which i bought at the art supply store.
december 2010, a large painting with many colors, the last one, made from 15 canvases placed side by side, exhibited in detroit at susanne hilberry; two faces and two words, SEX, MAMA, appear again and became the title.
then it was over. there wouldn’t be any more. no more heads no more words.
some call it silence. i don’t disagree.
january 2011, a reduction of the palette to red white blue and black and especially the decision to only paint. painting with tempera on primed canvases of different sizes, “red,” “blue,” “white.”
end of february, black nothing but black; then came: “amerikka,” also exhibited in detroit. then “new york” and “a car in the night,” the last series made with the sole brush.
for even more presence, the choice was black oil, “ivory black,” a fine oxymoron.
i empty the tube of paint directly onto the handsome, unprimed wood panels that i’ve just discovered; from there i give up the brush for the silkscreen squeegee.
later come fingers upon the suggestion of a friend about the existence of latex gloves.
the gravity, the prominence of the work grows as a result of physical spaces graciously offered to me (financially unable to have recourse to any myself). i now work in places that look like what one would call studios: an empty room with white walls and a wall of windows in an LA-60s-style summer villa in east hampton and in a gallery on the 4th floor in chelsea, also a very handsome space with high walls on 26th near the hudson.
this has yielded paintings on large wood panels, plywood, bought at the lumber yard measuring 92 x 123 cm and on unprimed canvases, dropcloths to be precise, which are used to protect and which i bought at the hardware store, measuring 3.65 x 2.74 m.
all of it still flat on a table or the floor.
i continue down my painter's path: i paint
(Anne-Lise Coste, 2011)
"d5919bcc3aeeb621e64daf06b703c106"
16.09. - 29.10.2011
– painting and new york –
i moved to NY april 1, 2010, into a handsome apartment on the upper west side. it’s the lay of the land that made things happen, I’m happy, there’s a handsome tall tree outside my window where handsome birds (red cardinal, blue jay) land and sing. it’s very calm here, gentle and luminous, there’s the sky that opens above my bed. the sounds of the city that reach me are ambulance sirens and planes landing in the distance.
I get the exact opposite when going down into the subway nearby: the underground, the deafening, the withering, black, neon, metal, asphalt and concrete. and the rats and cockroaches race. humans are another story.
in may 2010 i was drawing on the table (in the living room of my apartment) on paper, horizontally, with an 8B soft pencil and a ruler. what came out were the series “cages,” “penetrations,” “pedestals (Mondrian)” and “architectures.”
at the end of the summer, paper felt insufficiently there: i discovered the wood panel.
so i continued the first oil paintings (see the oils from berlin, in the reinhard hauff archives) with the series “sort of letters” and the series “sort of cubes,” as the name indicates, you can see letters and cubes in thick spaces of titanium white.
I was very sick in october, the smell of oil made me worse, i therefore switched to tempera on paper and primed canvas, which i bought at the art supply store.
december 2010, a large painting with many colors, the last one, made from 15 canvases placed side by side, exhibited in detroit at susanne hilberry; two faces and two words, SEX, MAMA, appear again and became the title.
then it was over. there wouldn’t be any more. no more heads no more words.
some call it silence. i don’t disagree.
january 2011, a reduction of the palette to red white blue and black and especially the decision to only paint. painting with tempera on primed canvases of different sizes, “red,” “blue,” “white.”
end of february, black nothing but black; then came: “amerikka,” also exhibited in detroit. then “new york” and “a car in the night,” the last series made with the sole brush.
for even more presence, the choice was black oil, “ivory black,” a fine oxymoron.
i empty the tube of paint directly onto the handsome, unprimed wood panels that i’ve just discovered; from there i give up the brush for the silkscreen squeegee.
later come fingers upon the suggestion of a friend about the existence of latex gloves.
the gravity, the prominence of the work grows as a result of physical spaces graciously offered to me (financially unable to have recourse to any myself). i now work in places that look like what one would call studios: an empty room with white walls and a wall of windows in an LA-60s-style summer villa in east hampton and in a gallery on the 4th floor in chelsea, also a very handsome space with high walls on 26th near the hudson.
this has yielded paintings on large wood panels, plywood, bought at the lumber yard measuring 92 x 123 cm and on unprimed canvases, dropcloths to be precise, which are used to protect and which i bought at the hardware store, measuring 3.65 x 2.74 m.
all of it still flat on a table or the floor.
i continue down my painter's path: i paint
(Anne-Lise Coste, 2011)
Anne-Lise Coste was born 1973 in Marseille and lives and works in New York. Recently her works have been shown at Museum of Modern and Contemporary Art, Santander / Spain, Susanne Hilberry Gallery, Detroit, Nicole Klagsbrun Gallery, New York and in the group show "Hysteria, Laughter and a Sense of Seriousness" at Galerie Gregor Staiger and Karma International, Zurich (all 2011). This october she will show at Ellen de Bruijne Projects, Amsterdam, in november at Noguerras Blanchard, Barcelona. "d5919bcc3aeeb621e64daf06b703c106" is the fifth solo exhibition at Galerie Reinhard Hauff, Stuttgart.
GALERIE REINHARD HAUFF
Paulinenstrasse 47
D - 70178 Stuttgart
Germany
T: +49 (0) 711 609 770
GALERIE REINHARD HAUFF
Read On... GALERIE REINHARD HAUFF, Stuttgart
Paulinenstrasse 47
D - 70178 Stuttgart
Germany
T: +49 (0) 711 609 770
GALERIE REINHARD HAUFF
Read On... GALERIE REINHARD HAUFF, Stuttgart
