Charly Rocks (NÉ EN 1983) Paint can in resin.
25x17x30cm

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Charly Rocks (NÉ EN 1983)

Paint can in resin. 25x17x30cm

69

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Charly Rocks (NÉ EN 1983)

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Estim. 25 000 - 35 000 EUR

Angel OTERO Untitled (SK-NG, Album series) - 2013 Oil paint and oil paint skins glued to canvas Signed, dated and titled on the back "SK-NG". 102 × 81.50 cm Oil paint and oil paint skins collaged on canvas; signed, dated and titled on the reverse 40.15 × 32.08 in. Provenance: Kavi Gupta Gallery, Chicago Acquired directly from the latter by the current owner Angel OTERO Quote: "For me, very early on, art consisted of painting landscapes... then a guy showed me images of a Pollock painting and it shocked me; It was very liberating that the world accepted this as art."- Angel Otero Angel Otero's artistic approach combines methods of formation and deformation, a way of working that results in images and objects that seem to be in a perpetual state of becoming. Among his most illustrative works are his "paint skins". The singularity of Otero's work is inseparable from his particular brand of process-oriented formal innovation. Painting upside down, he applies oil paint to large sheets of glass. Once these have dried (which can take up to two weeks), Otero peels the oil paint from their surfaces with a set of "blades", then glues their looped compositions to the canvas, modifying their broken surfaces with additional painted gestures, shapes and letters. "These procedures," Otero told me, "produce surprises to which I have become addicted. Assembled negatively - like a print or photographic film - Otero's recent textual invocations of twentieth-century philosophy (which include quotations from Sartre, among other totemic figures) also serve as visual essays on the metaphysical instability of our own astonishingly thoughtless and culturally stunned age. Angel Otero's approach to art making combines methods of formation and deformation, a way of working that results in images and objects that seem to be in a continual state of becoming. Among his most illustrative bodies of work are his so-called "paint skins,". The singularity of Otero's work is indivisible from his particular species of process-oriented formal innovation. Painting in reverse, with a nod to the filmMemento(2000), he applies oil paint onto large sheets of glass. Once these have dried (which can take up to two weeks), Otero peels the oil paint off their surfaces with a set of 'blades', then adheres their buckled compositions onto canvas, amending their broken surfaces with additional painted gestures, shapes and letters. "These procedures", Otero told me, "produce surprises to which I've become addicted". Assembled negatively - like a print or photographic film - Otero's recent text-based invocations of twentieth-century philosophy (which include quotes from Sartre, among other totemic figures) also serve as visual essays in metaphysical instability for our own stunningly unreflective, culturally dumbfounded time.

Estim. 30 000 - 40 000 EUR

DRAN Thank you - 2016 Acrylic, spray paint and paper collage on canvas Signed and titled; countersigned on back 150.30 × 125 cm Acrylic, spray paint and paper collage on canvas; signed and titled; countersigned on the reverse 59.05 × 49.21 in. Bibliography: Dran, ABCD'air, Éditions Nobulo, 2016, reproduced under the letter M for Merci Exhibitions: Brussels, Adda Galerie, Dran, Tiens , June 12-July 10, 2016 Condition: A certificate will be given to the buyer. DRAN Quote: "dran is unclassifiable. Happily unpredictable and seriously disturbing. His single line is but a thin border between his strange inner world and us mere humans. He draws like he talks and thinks. The flow is rapid, the ideas atomized, leaving us in awe of the relevance of his dark but strangely enlightening vision" - Maurizio Cattelan A gritty, critical observer of society, dran traces on paper and canvas acerbic, cynical visions of human relationships in contemporary society, which Guy Debord described as the Society of the Spectacle. He criticizes its shortcomings, its evolutions, its political, economic and religious approaches, as well as the news stories that litter its pages. His intervention at the heart of the Inside exhibition at the Palais de Tokyo left a lasting impression. His work is a series of sketches conveying a corrosive message. The grimacing, dreaming children are threatened by the world around them. Between dream and nightmare, society and its violence impose themselves on them. In 2016, he presented the exhibition Tiens à Bruxelles in the form of an alphabet book. From the A in Abécédaire to the Z in Zèbre, dran shows, with humor and irony, realistic scenes that only his acute sensitivity can bring to life. Without dictating anything to us, losing us in his colorful, childlike universe, he offers reflections, tenderness and emotions to the inquisitive mind. A critical and unforgiving observer of society, dran uses paper and canvas to draw ascer- bic and cynical visions of human reltionships in contemporary society, the one that Guy Debord described as a Society of Spectacle. He criticizes its failings, its evolutions, its political economics and religions approaches, and also various facts that litter the news pages. His intervention at the heart of the exhibition Inside the Palais de Tokyo made an impression. His works are scenes conveying a corrosive message. The grimacing and dreaming children are threate- ned by the world around them. Between dream and nightmare, society and its violence are thrust upon them. In 2016, he presented the exhibition Tiens à Bruxelles in the form of an alphabet book. From the A in Abécédaire to the Z in Zèbre, dran shows, with humour and irony, realistic scenes that only his acute sensitivity can bring to life. And as usual, or like the way he handles his website, everything is there to be discovered, searched for, delved into and surprised by. Without dictating anything to us, he loses us in his colourful, childlike universe, offering reflections, tenderness and emotions to the inquisitive mind.

Estim. 100 000 - 200 000 EUR

JEAN-PAUL RIOPELLE (1923-2002) Atlantica 1969 signed oil on canvas signed oil on canvas 80.5 x 100 cm. 31 11/16 x 39 3/8 in. Realized in 1969. Footnotes: Provenance Marguerite Maeght Collection, Paris Gift to the current owner, August 1970 Bibliography Yseult Riopelle, Tanguy Riopelle, Jean-Paul Riopelle, Catalogue Raisonné, Tome 4, 1966-1971, Montreal 2014, p. 170, n°1969.006H.1969, illustrated in black and white Atlantica, created in 1969, carries within it the secret love we share with a work of art, kept out of sight for over fifty years, where the canvas, for having been chosen and loved, has become, over the years, a face that unties everything in us so much the heart abandons itself entirely to it. For there are landscapes that are states of the soul. In each of Riopelle's works, perception sharpens our desire to perceive, as the painter retains only the wind's breath and the water's light from the storm. His art is a battleground, a place where the senses we attribute to him are made and unmade. In thick layers, he stretches out the oil, whose faculties, nuances and interpenetrations of drips and drying cracks the artist delights in rediscovering, making the material the sole guide of our gaze. Riopelle, in a suspended frolic, endowed painting with life. "This painter is among the short list of creative geniuses" were the words spoken by the Prime Minister at the painter's state funeral in Canada in 2002. A meeting point between two civilizations, his art established a synthesis between Europe and North America: to extract is not to abstract. The Centre Georges Pompidou and the Fondation Maeght, in 2022-2023, have organized large-scale exhibitions, highlighting the academicism (in the noble sense of the word) and transgression that his two masters Henri Bisson and Paul-Emile Borduas taught him. Riopelle chose the path of disorder early on, making mutation the product of experience, not intention. From the Automatism group in Canada, he naturally joined the Surrealism group, having met Breton on his arrival in Paris in 1947. Two years later, the avant-garde gallery La Dragonne and Nina Dausset offered him his first solo show. In 1951, Véhémences confrontées, at the instigation of Michel Tapié, brought together works by Mathieu, Riopelle, Hartung, Bryen and Pollock in an unprecedented exhibition. 1953 brought the painter the recognition he had anticipated: Pierre Loeb acquired a large number of his works and had him exhibited with Pierre Matisse in New York. Invited to take part in the famous exhibition Younger European Painters: A Selection at the Guggenheim Museum that same year, Riopelle met Franz Kline and Joan Mitchell... At the end of the 1950s, Europe's leading collectors were passionate about this artist, whose sensitive works throw us into the emotion of presence. When Riopelle paints a tree, he retains only the writing of its branches in the sky. Under his brush, the legible transforms into a fertile invisibility, offering a clarity born not of light but of its reflection. Aimée and Marguerite Maeght's discerning eye was not mistaken, and they devoted several exhibitions to the painter from 1966 onwards. The fruit of their generosity, the work Atlantica was a gift to our collectors, who had the privilege of choosing it. The words they addressed to the painter in a letter a few years later reveal their undying love: "Twenty years already that I look at your canvas, that I plunge from my bed into your Atlantica, the milky voluptuousness of the whites, the spirituality of the light blues, etc.". The emotion, half a century later, is still palpable in the eloquent choice of these words that tremble... Name of a paleocontinent, the title of this painting has the sovereignty of innocence and the nebulous quiver of a prayer whispered to heaven. The painter knows that the wind will carry it to him. Atlantica, created in 1969, carries within it the secret love one shares with a work of art; kept out of sight for over fifty years, the canvas, having been chosen and loved, had become, over the years, the soothing features one turns to as indeed the heart can trust them so completely. It is true that some landscapes reflect the states of one's soul. In each of Riopelle's works, perception sharpens our desire to perceive, for of the wind the painter only retains its breath and of the storm only the luminosity of the water. His art is a battleground, a space where are made and unmade the messages we perceive in it. In thick layers, he spreads out the oil, the faculties, nuances, interpenetration of drips and drying cracks of which the artist delights in rediscovering;

Estim. 150 - 250 EUR

Van Diepenbeeck, Abraham ; Meyssens, Cornelis

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