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WHEN:
September 7-December 21, 2024
WHERE:
Fernberger Gallery
747 N Western Ave
Los Angeles
TICKETS:
For more information and tickets visit the Fernberger Gallery Presents website.
A spokesperson describes the event as follows:
“..Flying Back Home, an exhibition of new paintings by Vicky Colombet. This exhibition marks the first solo presentation of Colombet's work on the West Coast and brings together some of her largest and most formally complex works to date. Colombet worked on this show with a palette exclusively of varying blues and blacks, all while closely embracing negative, or open, space in her compositions. These works are a continuation of a body of work Colombet began in 2015 entitled Plis et Paysage ("Folds and Landscape") that has been defined by mono and bi-chromatic paintings on linen canvas. The specific framing for this exhibition, including its title, has been drawn from the vistas during her many flights across the Atlantic "Going Back Home" from Paris to New York and vice versa. The unfolding and folding movement of the sea, the fracture of the coast lines, how the world she gazed down upon seemed and could be summarized as "Plis et Paysage." Colombet has said of her paintings, which are decidedly abstract, that they are not "of a landscape," but rather that they themselves constitute landscapes-that they create worlds unto themselves. Colombet's compositions express this remote, aerial perspective in different yet complementary ways. While some emphasize balance and proportion with forms that seem complete and entirely self-contained, others convey complexly layered ones that seem to exist in a process of becoming, often bringing to mind intricate systems of rock that jaggedly unfold across space. The emphasis on materiality in these paintings, from a cosmic scale to an earthly one, is rooted in Colombet's fastidious and research-based approach to using pigments. She begins by selecting raw pigments, in this case blue green, cobalt, cobalt blue sapporo, iron oxide black, ivory black and ultramarine light titanium white and then grinds and mixes them with a variety of solvents. She then experiments with their respective weights, type of granulation and chemical response, a process that, all told, sees her working at a near molecular level. With her linen canvas laid flat, she paints using brushes made of goat and squirrel hair that, due to their softness, allow for a control over the extent to which brushstrokes register on the surface of each work. Though her materials remain visible on the surface, what they reveal and how they do so is always enigmatic. This minimization of the hand and embrace of obfuscation reinforce the idea that her paintings are direct expressions of the earth they symbolically or metaphorically evoke. Though Colombet brings a rigorous, almost scientific approach to the creation of her materials, what results borders on the metaphysical. The specificity of her method is set against the expansiveness of her vision. Her appreciation for what is mysterious and indeterminate in the world informs these paintings entirely, as each carefully resists stasis and defies easy categorization…”
