I begin with a nonfigurative proposition and by the conjunction of visual signs, I lead myself (and the viewer as well) consequently toward a possible resolution, a reinvented paradise.
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I begin with a nonfigurative proposition and by the conjunction of visual signs, I lead myself (and the viewer as well) consequently toward a possible resolution, a reinvented paradise.
—Françoise Gilot
270 BOWERY, NEW YORK, NEW YORK—Françoise Gilot is one of the premiere high modernists still working today, and with the recent death of Louise Bourgeois, we are endlessly confronted with the reality of the disappearance of artists whom obtain a truly historical awareness. Gilot’s position is especially unique, as recounted in her memoir Life with Picasso, published in 1964, and more recently, Matisse and Picasso: A Friendship in Art, in 1990. Gilot garnered her own symbolic stature as a painter demonstrating the formalistic language developed in part by her associations to the most influential painters of the 20th century. Gilot has also published a monograph that covers her life work from 1945–2000, and BLT is especially honored to present her most recent monotypes that were executed from 2009–10.
Gilot, in this series of work, has chosen the most painterly form of printmaking to showcase her historically influenced technique as a painter. Gilot’s approach to the monotype is rapid, but her well-trained eye and hand eloquently layers images, color and collage. The monotypes present multi-dimensional space, color and contemplation of the natural. Gilot and her works are intuitive and vibrantly full of context in terms of visual, aesthetic, and historical invitation. We invite you to join us on June 17th from 6–9PM for the reception of this series of remarkable, seminal monotypes.
