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We could begin by saying that Eva Ayache-Vanderhorst’s proposal is an installation where metal and painting merge and absorb one another in a miscible blend, where the artist’s gesture allows the two techniques to interpenetrate and reciprocally intertwine. Constellations 2 imposes a spectral presence: the floating bodies of the paintings double and fragment within the large mirrors of the Café des Glaces, evoking a kind of panoptic and omniscient power. The central metallic sculpture, a penetrable zone positioned at the threshold between outside and inside, asserts itself as an ambiguous territory where everything remains to be thought through under the looming threat of hanging pendulums—though disarmed—within a relation to time held in suspension by the muffled force of gravity. Thus, the exhibition space asserts itself as a circulatory territory where the viewer is invited to observe frontally, but also to discover through the reverse and through reflection these...More
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Press Release
We could begin by saying that Eva Ayache-Vanderhorst’s proposal is an installation where metal and painting merge and absorb one another in a miscible blend, where the artist’s gesture allows the two techniques to interpenetrate and reciprocally intertwine. Constellations 2 imposes a spectral presence: the floating bodies of the paintings double and fragment within the large mirrors of the Café des Glaces, evoking a kind of panoptic and omniscient power. The central metallic sculpture, a penetrable zone positioned at the threshold between outside and inside, asserts itself as an ambiguous territory where everything remains to be thought through under the looming threat of hanging pendulums—though disarmed—within a relation to time held in suspension by the muffled force of gravity. Thus, the exhibition space asserts itself as a circulatory territory where the viewer is invited to observe frontally, but also to discover through the reverse and through reflection these...More