Spectre
Solo Show
Quark
Geneva, Switzerland
12.11 – 21.12.2015
Curator
Elisa Langlois
PHOTOGRAPHs by Annik Wetter and Arthur Fouray
Special Thanks to Elisa Langlois, Nastassia Montel, Jean–Marie Bolay, Julien Gremaud, Stéphanie Serra, Frédéric Gabioud, Grégoire Golay, Baker Wardlaw, Boesner France, BFP–CINDAR
Press Release
Arthur Fouray’s work is ever-evolving. It begins with the archetypal ‘Once upon a time’ and progresses through consistent stylistic motifs punctuating its narrative. Traversing from historical frescoes to contemporary art, Fouray delves into history and tales, incorporating popular culture references, including cinematic techniques and allusions to Walt Disney. Spectre marks his debut solo exhibition. It presents a tangible perspective on artistic openness, hinting at the future trajectory of this emerging artist. This exhibition establishes the groundwork for a cosmology, with its central ideas taking form in everyday objects. These objects, presented in sequences, intertwine to convey a message of unity viewed through diverse lenses.
Fouray’s meticulous selection of hues, flawless colour blocks, and distinct paint applications attest to his dedication to monochromatic painting. The monochrome, a hallmark of 20th-century art, often draws on supremacist, spiritual, and geometric themes. While traditionally seen as a foundational or elementary form of painting, in Fouray’s hands, monochromatism transcends mere reference, becoming an autographic and symbolic medium.
#aaafff (CAR)
2013–2016
acrylic, blackout fabric, Shark Truck
16x16x4 cm
Courtesy of the artist
The #aaafff series of paintings adhere to a distinct methodology. These shades, a midpoint between sky blue and purple, conceal objects – most frequently from domestic settings – within their frames. The colour subtly reveals the artwork’s essence: a fusion of a monochromatic canvas with a distinct object. Fouray skilfully merges abstraction and ready-made art, seemingly opposing cornerstones of avant-garde tradition. Through the repetitive nature of the series, the #aaafff works act as signatures of his unique approach, signifying a blend of painting and sculptural elements.
#000fff (polyvision) (Spectre)
2015
Chroma key blue, wallpainting, Spectre
A/R 4 (1.33 x3)
With #000fff PolyVision, Spectre introduces an exception. This piece, a mural bearing the intense hue of #aaafff, does not conceal but rather implies an object’s projection. Abel Gance’s triptych ‘PolyVision’ screen dimensions for his 1927 film, Napoleon, inspire the artwork’s proportions. This represents a utopian, gigantic cinematographic form, a triple projection across three conjoined screens. By adopting the term ‘triptych’ from the world of painting, Gance indicated a shift from the historical fresco medium to the cinema. Conversely, #000fff PolyVision reverts this transition from the screen back to the canvas.
Morel (#aaafff polyvision)
2015
frame, key frames, #aaafff polyvision
172 x 36 x 32 cm
Courtesy of the artist
Blending architectural and experimental elements, Morel #aaafff PolyVision runs parallel to the #aaafff series. In this installation, a wooden crate encloses a massive rolled-up painting – a 16-meter monochromatic canvas, which Fouray has chosen to ‘fossilise’ within a sculptural context. Beyond mere containment, the box narrates its own story. Composed of 12 standardised containers typically used for art, the arrangement evokes the woodworking of 17th-century royal galleries. Simultaneously, its display recalls Donald Judd’s ‘specific objects’, notably the Untitled series (Ballantine 89-49), where modular wooden boxes are arranged horizontally.
Spanning from the grandeur of past centuries to minimalism, from historical paintings to digital screens, Fouray’s eclectic influences are underpinned by the spectrum of Marcel Broodthaers. Broodthaers’ legacy remains a consistent reference for Fouray, encapsulating the quest for harmony and purpose in the juxtaposition of mainstream and critical art.
Andy III
2015
acrylic, cotton–duck, pillow
60 x 42 x 12 cm
Private collection
Kasimir (Signal Blue)
2015
acrylic, cotton–duck, pillow
58x58x9 cm
Courtesy of the artist
Andy IV
2014
acrylic, cotton–duck, pillow
60 x 100 x 25 cm
Courtesy of the artist
Kasimir (Blush)
2015
acrylic, cotton–duck, pillow
27 x 27 x 8 cm
Courtesy of the artist
Andy (Caramel)
2014
acrylic, cotton–duck, pillow
72 x 36 x 24 cm
Courtesy of the artist
The ‘object-paintings’ series features Andy and Kasimir as its focal points. Initiated in 2013, it commenced when Fouray stretched canvas over his bed’s box spring. Like the #aaafff series, these artworks are monochromatic, unified by incorporating bedding elements as frames. Through a domestic and intimate lens, from pillows to comforters, these object-paintings embed monochromes within the context of the human body. Their titles hint at the subjects’ narrative, associating them with specific colours or numbers. Embodying Pop and Minimalist elements, this series underscores a fluidity of styles. While Kasimir evokes Malevich’s aesthetics, its presentation challenges monochromatic conventions of self-contained abstraction. Conversely, Andy alludes to Warhol’s Silver Clouds, with the buoyancy of Pop-inspired helium balloons encapsulated beneath canvas and pigment. By infusing domestic elements into his work, Fouray reinterprets the fundamental essence of painting.
Elisa Langlois
L’époque et son style
2015 – 2017
gouache, arches paper, cardboard
26.5 x 26 x 4 cm
Courtesy of the artist
Index