TITLE_NAME :
LA NUIT AMÉRICAINE NICOLAS DELPRAT
06/04/2023 - 20/05/2023
GALERIE MAUBERT
20, rue Saint-Gilles
75003 Paris
galeriemaubert.com
La nuit américaine (''Day for night'') is the title given to the exhibition in reference to a light filtering technique used in the cinema to obtain a night-like atmosphere during scenes shot in broad daylight. Since 2007, the transforming effects on spaces realised with artificial lightening occupy the pictural fields constructed by Nicolas Delprat. His paintings are a moving surface, sometimes theatrical, in which the history of their creation is narrated.
“Go brighter on the blackness” is how the artist describes the process which nowadays defines his way of painting. The exhibition mainly hinges on two series of paintings, started in 2018 and still in progress. They are entitled “James” and “Dan”, followed by a number, and they come from the memory of how he was dazzled after he saw light installations of the American artists James Turrell and Dan Flavin [1]. Developed from this remembrance phenomenon – or residual memory – these series have progressively orientated the artist’s practice towards exploring painting as a trace, as a remain from a set of gestural operations settled in advance - through a protocol for some of them, and spontaneously for some other.
The strong involvment of the body, but also of the memory - which are at the root of these images - does not appear in an excess material, as one may assume. On the contrary, it expresses itself through a complex process of smoothing by burying, by methodically erasing the steps of creation of the painting which cautiously keeps them in its different layers. It definitively does not fit it the register of expression but in the recording of “precepts” ’ [2] on a tangible roll – which, in Nicolas Delprat’s work, is called “painting” - and comes to reveal itself afterwards.
06/04/2023 - 20/05/2023
GALERIE MAUBERT
20, rue Saint-Gilles
75003 Paris
galeriemaubert.com
La nuit américaine (''Day for night'') is the title given to the exhibition in reference to a light filtering technique used in the cinema to obtain a night-like atmosphere during scenes shot in broad daylight. Since 2007, the transforming effects on spaces realised with artificial lightening occupy the pictural fields constructed by Nicolas Delprat. His paintings are a moving surface, sometimes theatrical, in which the history of their creation is narrated.
“Go brighter on the blackness” is how the artist describes the process which nowadays defines his way of painting. The exhibition mainly hinges on two series of paintings, started in 2018 and still in progress. They are entitled “James” and “Dan”, followed by a number, and they come from the memory of how he was dazzled after he saw light installations of the American artists James Turrell and Dan Flavin [1]. Developed from this remembrance phenomenon – or residual memory – these series have progressively orientated the artist’s practice towards exploring painting as a trace, as a remain from a set of gestural operations settled in advance - through a protocol for some of them, and spontaneously for some other.
The strong involvment of the body, but also of the memory - which are at the root of these images - does not appear in an excess material, as one may assume. On the contrary, it expresses itself through a complex process of smoothing by burying, by methodically erasing the steps of creation of the painting which cautiously keeps them in its different layers. It definitively does not fit it the register of expression but in the recording of “precepts” ’ [2] on a tangible roll – which, in Nicolas Delprat’s work, is called “painting” - and comes to reveal itself afterwards.