La Ferme de la Chapelle

Jessica Russ, David Weishaar – Lieber Maler, male mir

David Weishaar’s point of departure is the classification of screen captures and photos taken with his mobile phone.  These feed his formal vocabulary and weave unexpected links between his works.  Subjects are projected onto canvas and initially recorded by washes.  The painting is then allowed to emerge unbound from his memory and takes on a pictorial identity while preserving the overall image and conventional photographic framework. Distance from reality is accentuated by the choice of colours which create layered effects or eliminate perspective by flat monochromes.  Shapes emerge and disappear swallowed by excessively bright tints and by coloured backgrounds in a movement which recalls the frailty of over-abundant images in our lives and our difficulty in retaining them.  David Weishaar spent six months of residence in Berlin and has returned with a new series of paintings.

Jessica Russ’s work begins by drawing which outlines surfaces and gives a hazy impression of landscapes or objects in constant balance between figurative and abstract.  The forms are then filled with layers of colour meticulously applied on the canvas which create chromatic vibrations.  Perspective is absent, replaced by exchanges between tones.  Colour gradually takes prominence away from form and becomes the main subject of the work directing the gaze from one fragment to another, constructing affinities between tones.  There is in fact a true coherence between the colours as a result of re-using mixes already created for a preceding canvas.  In her recent series of paintings, presented for the Alice Bailly prize which she won in 2019, lines of a range of colours appear and provide an additional dynamic in contrast to the surfaces over which they seem to hover.  The close vision of the two artists led them to jointly design this exhibition.

Stéphanie Pfister, Ferme de la Chapelle, 2018