<b><i> </i>Bernard Frize "Hello, My Name is Bernard Frize" </b><br /><br /><i>“My work is not the result of some kind of recipe, but an exploration about my identity in the world. How do I use my experience, experience that I can name mine in the mass of the information of the day? The world presents itself as an obstinate and invading whole and I always have to measure and figure out the thread of skepticism..” </i><br /><br /><i>"</i><i><b>The paintings are disturbance.</b> Bernard Frize establishes a field, a surface; then establishes a starting point; then creates a disturbance."   </i><br /><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyCEE8GJEfNPUbHWWKS25ZucqsEwTS300B7V3inIvsM8WzRmosMMktHnj-f7uTPHLT_H_xc0FV9Kwic2mGnWVdkuBRITJJPMAOOG3OaXfZDaXi84FTlnAg5MSRb6vUqCEB4-6CPunvZM9d/s1600/bf_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyCEE8GJEfNPUbHWWKS25ZucqsEwTS300B7V3inIvsM8WzRmosMMktHnj-f7uTPHLT_H_xc0FV9Kwic2mGnWVdkuBRITJJPMAOOG3OaXfZDaXi84FTlnAg5MSRb6vUqCEB4-6CPunvZM9d/s1600/bf_1.jpg" width="590" /> </a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><b>Bernard Frize "Hello, My Name is Bernard Frize"</b> </div><div class="separator" style="clear: both; text-align: left;">January 18 to March 1st, 2014 <a href="https://www.perrotin.com/artiste-Bernard_Frize-4.html">@<b>Galerie Perrotin, Paris  </b></a></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>"As a new introduction to Bernard Frize, the exhibition reveals key facts about his work:  </i></div><div class="separator" style="clear: both; text-align: left;"><br /></div>a. Bernard Frize’s paintings feature a spectrum of colors, selected not for their specific qualities but selected because they are distinct from one another; selected simply to be a color, not to evoke a mood or make a statement in and of themselves. <br /><br />b. Bernard Frize follows systematic procedures in executing his paintings, based on a pre-determined script he chooses which can do nothing once put in motion but veer pointedly towards disruption. <br /><br />c. Bernard Frize provides a stage for chance and the nature of the materials to make their way, to have their influence. Paint, resin, color, weight of the brush, imprint of the paint, the choice to allow a freeness to the touch.  In “Diola” gesture is evident. There is a saturation of color at the top and bottom of the canvas, at the edges of the brushstrokes. Throughout the main field of the painting, color is also saturated at the edges of the brushstrokes, where the paint became ever so slightly heavier from the friction between the brush and the canvas. The material (paint) is doing what it does. Water, pigment, gravity, the effects of drying all have their influence and all play a part in what the painting becomes. It’s an organic process. <br /><div class="separator" style="clear: both; text-align: left;"><br /></div><a href="https://www.perrotin.com/artiste-Bernard_Frize-4.html"><i>more here. all text taken from here.</i></a><br /><br /><br /><br /><div style="text-align: center;">---------------</div>

  Bernard Frize "Hello, My Name is Bernard Frize" “My work is not the result of some kind of recipe, but an exploration about my i...

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<i>the past used to feel far behind.</i><br /><i>the future often feels like the past.</i><br /><br /><i>1905 vs 1950 </i><br /><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH7P0UqOcFWEEchgXQ8GNeOzxXEygG1ki2_5kBiI7H4-WmYQD6U_0SrrlHm-OLUBc_bzfdUhIBuGe0XlOVAVpcnlCiKhmVpXMyLXGkfudFTnfPpMU2F3C5vhk-h6GGsvkLsT_uxpdZySMi/s1600/d93d9813ab605c4639b5572873036e6e.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH7P0UqOcFWEEchgXQ8GNeOzxXEygG1ki2_5kBiI7H4-WmYQD6U_0SrrlHm-OLUBc_bzfdUhIBuGe0XlOVAVpcnlCiKhmVpXMyLXGkfudFTnfPpMU2F3C5vhk-h6GGsvkLsT_uxpdZySMi/s1600/d93d9813ab605c4639b5572873036e6e.jpg" /></a></div><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOOVKSDJKQsdCp-Zk8tcuWlP_Q07rM_DFMhKUcQYE_DiUZ4GtrD7ucT-OjMqCnSAmOYtUBbsKvDP_6MmV0ttnSZbnmkZShibEKijsyIrasXiPs7gLPEuA7KSecDhYf0_lnUeYzcHKZYi1j/s1600/5866367_1_l.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOOVKSDJKQsdCp-Zk8tcuWlP_Q07rM_DFMhKUcQYE_DiUZ4GtrD7ucT-OjMqCnSAmOYtUBbsKvDP_6MmV0ttnSZbnmkZShibEKijsyIrasXiPs7gLPEuA7KSecDhYf0_lnUeYzcHKZYi1j/s1600/5866367_1_l.jpg" /></a></div><br /><br /><br /><i><b>2 lamps. the future of the past.</b></i><br /><br />1. <b>Tapio Wirkkala</b>, Brass and Enameled Metal Table Lamp for Idman Oy, c 1950.<br />2. <b>Jan Eisenlöffel.</b> Large ceiling light, c. 1905. H. <br /><br /><br /><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;">-------------</div><br />

the past used to feel far behind. the future often feels like the past. 1905 vs 1950 2 lamps. the future of the past. 1. Tapio Wirkkala , Br...

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<i>"Through his creations, <b>Nicolas Aubagnac </b>develops a personal conviction: to create exceptional pieces, noble materials must be selected with specific care and assembled according to precise and rigorous techniques." </i><br /><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwkPxl4nIW4JCO35Vcp0KfzyESHbB86e0zjOxxgoqtFqBSbzfKnbP_XqGQdhOHMfoLf38kUqtwJMj1lhKycjNoLfz8cTp7rty2er1P7KxMNCxtR4izj4Zb6jC0MttNrh7_MoH8quqg5q4H/s1600/lamps.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwkPxl4nIW4JCO35Vcp0KfzyESHbB86e0zjOxxgoqtFqBSbzfKnbP_XqGQdhOHMfoLf38kUqtwJMj1lhKycjNoLfz8cTp7rty2er1P7KxMNCxtR4izj4Zb6jC0MttNrh7_MoH8quqg5q4H/s1600/lamps.JPG" /></a></div><br /><span style="font-size: large;"><b><br /></b></span><i><span style="font-size: large;"><b>Nicolas Aubagnac</b></span> uses timeless and fundamental geometrical shapes (circle, square, triangle) and give his creations clean lines with beautiful proportions.  The materials he prefers are “noble” and rare : solid steel, chiselled bronze, gold leaf, precious wood, straw marquetry, lacquer, leather, parchment, shagreen. These sophisticated materials are assembled with perfection and a certain taste for luxury details.  Every creation is signed by a stamp.  Nicolas Aubagnac’s creations are timeless and can easily be<b> mixed with antics or with modern art.</b> Manufacture and perenity  Through his creations, Nicolas Aubagnac develops a personal conviction: to create exceptional pieces, noble materials must be selected with specific care and assembled according to precise and rigorous techniques.  </i><br /><br /><i>Indeed, Nicolas Aubagnac confides the manufacture of his designs to talented craftsmen who perpetuate the tradition of the Decorative Arts.  <b>In our workshops, woods are selected and dried with special care, leathers are prepared and hand-dyed and the veneers are made on specially made lathing.  Traditional techniques <span style="font-size: large;">(French varnish, lacquer, forged iron, marquetry or chisel)</span> can be enriched with modern techniques (vacuum gluing-press, cutting out with numeric laser, varnish made in a specific studio).  </b>As a result, we offer the best quality that ensure our pieces to last and will allow their restoration and their transmission from a generation to another. (text taken from site)</i><br /><br /><i><a href="http://www.nicolas-aubagnac.com/en/">visit Nicolas' site here. </a></i><br /><br /><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmUCzlctb7uGEqrhwicPz-X2t6Du9EVVDyCZ6JQ7QtRfpyW9kuS5XAP4YXrka7Eusqm_NENJxwN3v570rxQp13KP6dU0hJ4ggKs7qNuHv2ce5y2TYcsRHK8bweB9t1wFtCq0vF6DHpVXFd/s1600/lamps+gold.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmUCzlctb7uGEqrhwicPz-X2t6Du9EVVDyCZ6JQ7QtRfpyW9kuS5XAP4YXrka7Eusqm_NENJxwN3v570rxQp13KP6dU0hJ4ggKs7qNuHv2ce5y2TYcsRHK8bweB9t1wFtCq0vF6DHpVXFd/s1600/lamps+gold.JPG" /></a></div><br /><br /><br /><i>I want to live, I want to give I've been a miner for a heart of gold. </i><br /><i>It's these expressions I never give </i><br /><i>That keep me searching for a heart of gold </i><br /><i><b>And I'm getting old. Keeps me searching for a heart of gold </b></i><br /><i><b>And I'm getting old.  </b>- Neil Young</i><br /><br /><br /><br /><br /><div style="text-align: center;"><i>----------- </i></div>

"Through his creations, Nicolas Aubagnac develops a personal conviction: to create exceptional pieces, noble materials must be selected...

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