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Emalin is pleased to present Nuit, an exhibition of new paintings by Kate Spencer Stewart (b. 1984, Phoenix; lives and works in Los Angeles) created in response to La Nuit (1886), a portfolio of lithographs by Odilon Redon (b. 1840, Bordeaux; d. 1916, Paris). Produced more than a century apart, these works approach the image as a mutable form, shaped by the contrasts of nocturnal and diurnal conditions. At the heart of this encounter is what Redon described as “the logic of the visible at the service of the invisible”₁: a visual language built on transformation, indeterminacy and inwardness.
Redon’s La Nuit, issued in an edition of fifty, was part of a larger body of work he termed his noirs—drawings and lithographs developed in the decades following the Franco-Prussian War (1870). These works mark a departure from mimetic representation and the emerging optical logic of Impressionism. In their place, Redon cultivated a visual idiom ground…
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Emalin is pleased to present Nuit, an exhibition of new paintings by Kate Spencer Stewart (b. 1984, Phoenix; lives and works in Los Angeles) created in response to La Nuit (1886), a portfolio of lithographs by Odilon Redon (b. 1840, Bordeaux; d. 1916, Paris). Produced more than a century apart, these works approach the image as a mutable form, shaped by the contrasts of nocturnal and diurnal conditions. At the heart of this encounter is what Redon described as “the logic of the visible at the service of the invisible”₁: a visual language built on transformation, indeterminacy and inwardness.
Redon’s La Nuit, issued in an edition of fifty, was part of a larger body of work he termed his noirs—drawings and lithographs developed in the decades following the Franco-Prussian War (1870). These works mark a departure from mimetic representation and the emerging optical logic of Impressionism. In their place, Redon cultivated a visual idiom ground…
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