Nathalie du Pasquier – From Some Paintings at La Loge, Brussels

Nathalie du Pasquier’s Sketch for the exhibition
Courtesy of the artist


Over the past thirty-five years, Nathalie Du Pasquier has experimented with the arrangement, organisation and composition of forms, paying particular attention to the space between the objects and their representation. The artist’s understanding of space in relation to objects originates from her experience as founding member of Memphis, the influential Milanese design and architecture collective launched by Ettore Sottsass in 1980. During this period, she creatively arranged elements on surfaces resulting in her famous patterns for decorated surfaces. Although the artist slowly shifted her focus from design to painting, her whole artistic practice can be seen as a continuous elaboration of forms. Until a couple of years ago, in a unique exploration of the trope of the still life, Nathalie Du Pasquier based her larger than life paintings on objects found in her studio, which she arranged near her easel. Gradually, the artist replaced the found objects with wooden pieces, which she painted as representations of her model objects. Du Pasquier continued to engage with the trope of the still life, but in the last couple of years from a renewed point of view: translating the logic of assembled object to painted form, the artist focused on the formal qualities of painting, rather than its capacity to represent.

At La Loge, Nathalie Du Pasquier and Luca Lo Pinto invite the viewer to engage with the artist’s latest body of work, which reprises many elements of her former research. Arising from her unceasing investigation into assemblages of form, Du Pasquier’s new corpus of work straddles the line between flatness and voluminosity. On the lower floor, the artist presents a series of photographic reproductions of figurative oil still lives in black and white, which were realised between 2000 and 2010. All images are printed on an A4 format and aligned like still frames from black and white silent film, denotative of a different temporal experience. On the first floor, in the Temple, the artist presents a new sculpture and eight flat compositions linking the floor and the wall like freestanding columns. The compositions combine cut-outs from enlarged details taken from some of the black and white works on view on the lower floor with sheets of coloured paper and digital elaborations of more recent abstract cut-out paintings. The columns are really an amalgam from some paintings.

In the artist’s own words: “There are several reasons for this work. As we were choosing the pieces for the Kunsthalle Wien exhibition of last year, Luca and I realised that during the long period covered by that show (35 years), there is an almost continuous elaboration of elements that little by little have emerged. They become like raw material and are recomposed in new pieces. From some paintings plays with that idea and pushes it further. At La Loge we won’t use the original works but only documents: photos and computer elaborations. We want to present a new work made of older ones and devoid of material value. What a relief to imagine an exhibition made of paper, with no insurance! There will be only one three dimensional piece made of “boxes”, that piece will be constructed in situ and covered with paper. Another aspect that we found intriguing was the possibility to translate in black and white oil paintings, which were originally in colour. To see them in black and white forces us to seek harmony somewhere else.”

Offering a frame for reflection and experiment in the work of artists and encouraging dialogue with its specific architecture, La Loge welcomes Nathalie Du Pasquier’s reflection on a life-long career in the form of a new, unexpected body of work.

Curated by Luca Lo Pinto.

La Loge – Kluisstraat – rue de l’Ermitage 86 B-1050 Brussels
Opening Thursday 16 February 2017, 6-9pm
17 February – 22 April 2017