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Andrew Witkin

Juliette Losq / Darren Norman / Eric Poitevin

 April 9 – May 9, 2010

Stephanie Theodore and associate curator Luise Kaunert are pleased to present an exhibition of work by Juliette Losq, Darren Norman and Eric Poitevin.  Each artist in this exhibition engages the boundary between human existence and nature, in present time and past, space encroaching and encroached upon.

See video discussion of the exhibition by Stephanie Theodore:

Using simple ink on paper, Juliette Losq creates images of bucolic woodland hideaways where serenity comes with subtle dark undertones appropriate to its urban context.  The dark subtext of her work touches on the decay of forgotten corners of an outdated industrial London and the rough interactions that might have occurred therein.  In her role as anachronistic documentarian, Losq records the images of these places from memory to reflect on the lives, real or imaginary, that have passed through; or rather, the lives that have perhaps passed on there.  The viewer thus finds himself in a vaguely voyeuristic position, simultaneously lulled by natural beauty and goaded by implications of naughtiness.

Juliette Losq (b.1978 UK) studied English Literature and History of Art at Newnham College, Cambridge (1997-2000) and History of Art at the Courtauld Institute of Art (2000-01), and Fine Art at Wimbledon School of Art (2004-7).  Losq is currently in the final year of the Royal Academy School Post Graduate program. 

Darren Norman looks at the possibility of disintegration and failure as a fate full of potential.  With the implied loss of control and the creative space it opens up, Norman’s explorations of reduced expectations tap into the passage of time, both actual and perceived.  A sieve pan can be used to find gold, but being left for a week in bottom of the river Erme estuary in Devon south-west england, the copper-plated sieve yields not treasure but the sensation of a transition point between sea and river, a point which is simultaneously arbitrary as it is absolutely determined.  Similarly, Norman shows us a tree branch protruding from the gallery wall, at a height and angle one might imagine hanging from it. Upon closer inspection we see a bronze grip on the branch, the mark left from a hand that held onto that branch. Maybe Norman hung on to that branch and it broke off the tree, maybe that’s how it came to rest in this space. 

Darren Norman received his BFA from Byam Shaw School of Fine Art in 2004, and his MFA in Sculpture from the Royal College of Art in 2009.  His work has been included in exhibitions in the UK and Germany. 

Eric Poitevin’s “carrés verts” (green squares) explore the microcosmic life of a forest and its undergrowth.  In literalising the impossible possibility of “seeing the forest for the trees”, Poitevin offers up a multitude of almost innocuous details, fragments of infinity perceived where time is suspended and reality merges with the life of the mind.  Although they are representations of reality, they are often considered as “abstract”, but their author does not affirm this. They summon no narrative, nor do they follow any particular system other than that of a rigorous composition.

Eric Poitevin (b. 1961) lives and works in France.  His work has been presented in solo shows at the National Center of Photography, the Plateau / Frac Ile-de-France and the Musée de la Chasse et de la Nature in Paris as well as the Museum of Modern and Contemporary Art (MAMCO) in Geneva and has been included to important group exhibitions at the Centre Pompidou in Paris, the Museum of Fine Arts in Lausanne (Switzerland) and more recently at the MUDAM in Luxembourg. A new body of work will premier at the inauguration of the Centre Pompidou in Metz in May 2010.