Sisters Sisters
December 16, 2021
Façon de Venise, Simone Crestani
March 8, 2022

Suspendu au-dessus de l'abîme

January 27, 2022 to March 5, 2022
 
 

The artists

Born in 1989, Diane Benoit du Rey is a young French painter.
She expanded her knowledge during her years of study at the École des Arts Décoratifs de Strasbourg (HEAR) before developing her approach in her studio in Pré-Saint-Gervais.
Diane has always drawn, but it is in the works of her peers Mark Rothko, James Turrell and Dan Flavin that she finds a real fascination. In Diane's work, oil on canvas has been an obvious way of transcribing the vast possibilities of colour expression.
Light phenomena are at the heart of her experimentation. In her paintings, Diane theorises the way in which light comes to sculpt space through the deployment of colours.

This minimal pictorial art by the opulence of the melted colours, with their multiple nuances, absorbs us and takes us into an elusive space, beyond what we have been given to conceive of space and time. Far removed from traditional painting, Diane's refusal of representation stimulates the viewer's interest by creating a new pictorial experience: she makes us forget in order to better reveal. During the exhibition Suspendu au-dessus de l’abîme, Galerie SCENE OUVERTE presents the series Coulée, which plunges the viewer into a meditative ecstasy and a colourful intoxication. As a painter of light, Diane uses abstraction as a means of accessing the sublime.
As a child, Timothée Musset spent a lot of time in the open air, in the heart of nature. After his baccalaureate, he decided to go on a Tour de France with the Compagnons du Devoir. This apprenticeship in carpentry lasted eight years, in contact with the ancestral wood of historical monuments. Following this journey full of riches, Timothée worked in a design office for several years before returning to caress the material. Trained as a carpenter, he became a furniture designer by passion. He then decided to pass on his knowledge, and it was at this point that he created the Atelier Musset. Always fascinated by timber, Timothée chose to work mainly with this often forgotten material. He observes, touches and courts these old woods before sublimating them, while showing their defects as integral parts of their beauty. The recovery of these woods steeped in history is essential for him, woods that have survived the centuries and still have things to tell. Timothée gives a new, more poetic dimension to the raw, heavy and massive appearance of this material.

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