Photo: Parisian Laundry
Frances Adair McKenzie, “As Chalk and Cheese”, 2018
Exhibition combining two young practices rooted in the concern of make, Busy Bodiesat the Parisian Laundry, keeps the attention. It reveals, first in Quebec, the fascinating work wallpaper of Veronika Pausova as Megan Bradley has had the good idea to ask in dialog with the sculptures in copper and glass by Frances Adair McKenzie. This marriage is fruitful, makes the evidence even of the flair and skill of the director of the gallery, who announced earlier this week that it now represents Pausova.
The artist of Czech origin, based in Toronto, who is exhibiting his work for approximately five years, comprised of paintings at the prettiness is undeniable, which is embodied in the subtlety of line and the delicacy of the motifs. It defines its work by combining components very graphic, solid and figurative hyperrealistic which grant to his pictures an air of collages.
Among others, it is this formal aspect, which echoes the sculpture of Frances Adair McKenzie. The Montreal-based designs for several years, works with rods of copper and lead, which, as in the tradition of the stained glass from which it draws, to integrate pieces of glass cut. The masses openwork structure of large plans that unfold in the screens or deposited in irregular shapes directly on the ground, as shells of the beasts, imaginary. Graphics, plans, and solids meet in the works of Pausova and Adair McKenzie who, formally, suggest of operations, disclosure and concealment. The issue is not new, but it manifests itself in ways that intrigue them enough to spend time there.
Draw the curtains
The feat challenging of these works is based on the tension between the abstract language, and even decorative in appearance dominant, and the body. It appears here and there in the detail of the fragments and by its absence is suggested by the accessories. In Pausova, fingers, always partial, are mine to seize, to grasp, pull or drag, providing as much contact zones between the self and the other. Some plans also seem to be the result of processes of print, decals or smear, while others with floral motifs become curtains that a finger is trying to eliminate.
The canvases are replete with the effects of oscillating between the flatness affirmed the support surface and illusory depth ; on the edges of some of the chassis, the subtle clouds of color rather seek to show the actual scale. Perfectly controlled, the performance of the painted surfaces is said, by the heterogeneity of the latter, that, while exacerbating them, they call into question the appearances. The silhouettes of the handbags and the details of some drawings very parents with jewellery, evoke, moreover, a superficiality in the examination. The hands are added elsewhere, discreetly, nose and ears, leaving no remains of the other sense organs. In some paintings, clothes starched body phantoms are used as memory, retain the trace of a presence crumbled.
Photo: Parisian Laundry
Veronika Pausova, “Bag of Olives”, 2018
It is as if these paintings have restored the works of Adair McKenzie clothing molded already built in to his work, especially as it was presented this fall at the Musée d’art contemporain des Laurentides in reference to the feminist Kathy Acker. In these sculptures, are prevalent only the lattice of lead and copper that, in their configurations, to explore the relationship between the inside and the outside ; the plans openwork motifs organic materialize borders equivocal, interfaces that insist on the show and the staging.
The one and the other practice to engage in a certain narrative potential, and lend themselves to properties of living things, an ” animism of objects “, in advance Ji-Yoon Han in his presentation text. These are, she says beautifully ” bait to play with our look, to play and defeat our own desire to see — and, finally, the exalt “.
Also, the exhibition concludes with about in the bunker, immersed in the dark for the projection of an animated film signed Frances Adair McKenzie, the discipline with which it was first distinguished. Radio antennae, flower, boot cut, white rats and black cat coexist in a universe with overtones of the surreal. Brilliantly, the movie dramatises a world teeming with sculptures — also present in the basement — suggest to be the theatre. It remains that what are the associations evoked by the paintings of Veronika Pausoa who, in return, hold even more strongly the attention.
A previous version of this article wrongly stated that Veronika Pausova was the winner of the painting competition RBC in 2017. The real winner was Amber Wellman, Veronika Pausova was awarded an honourable mention.
Veronika Pausova, and Frances Adair McKenzie. At the Parisian Laundry, 3550 rue Saint-Antoine O., Montreal, until 15 December.