Paris
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The work of Monique Frydman – a major figure in French abstract painting – reflects a significant attachment to painting and the materials she has used since the beginning, notably pigments, pastels, and binding agents. The choice of artworks on display here is proof of the artist’s hand as a form of intelligence and the power of the gesture, as well as the exaltation of color as a space for free expression.
From November 7-11, 2018, Monique Frydman will present her new exhibition, “Le temps de peindre” (The time to paint), built around a selection of paintings from the 1980s and 1990s, which the artist has reviewed in 2018, as well as recent works that echo these. “Le temps de peindre” approaches the question of timescale of the painting and of that of the expansion of the time of creation. Does the painting pre-date the act of painting, even before the artist’s period of hesitation and doubt, and prior to the material being placed on the canvas? This “pre-pictural” phase is a mystery for the artist. What is the nature of this unused, perilous time that seems empty, yet is truly fundamental? When the artist is face-to-face with the canvas, they are not before a white piece of fabric…they are in permanent connection with the history of painting and its abundance of references. Through this rich, intense heritage, Monique Frydman fights a permanent battle to create a language that is her own, closest to her own essence, particularly as part of her dialogues with Sassetta, Bonnard, or Matisse. Artist time is not linear, but rather operates in closed circles, in a language that belongs to the artist’s repertoire. As the artwork develops, it is the artist’s eye that updates the most venerable works of art. “Le temps de peindre” is truly dignified and is meant to be honored by the artist themselves. It is well and truly about NOW.
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