Artist

Fabienne Verdier

b. 1962年生

抽象画家法比恩・维迪尔(1962年生于法国巴黎)致力于探索自然、运动与声音的动力。她富含戏剧张力的画作融合了东方艺术以大同和无为处理线条的概念及西方的绘画表现。基于她对这两种艺术传统的了解,维迪尔在预先涂满丰富色彩(如蓝、红、绿)的大画布上,用墨和丙烯颜料画出书法般的线条。维迪尔直接站在画布框上,用自画室天花板悬吊的巨大定制笔刷和工具作画。

 

1985年,刚从艺术学院毕业的青年维迪尔来到了中国四川省重庆市,向包括黄原在内的中国大师学习绘画。她在中国学习古典书画和篆刻近十年,她将这些经历记录在2003年出版的自传《沉默的旅客》。1994年维迪尔回到法国时,已练就一身中国书画、道家思想和美学的知识。 

 

维迪尔的画作在世界各地展出过,包括北京、新加坡、台北、巴黎、罗马和布鲁塞尔。位于苏黎世的于贝尔·路泽基金会将维迪尔选入2012年维也纳的奥地利银行美术馆的一次群展中。2013年,维迪尔在比利时布鲁日的格罗宁格博物馆举行个展。2014年,维迪尔和建筑师让・努维尔就北京中国美术馆的建造概念进行合作;2017年慕尼黑现代艺术博物馆收藏了七件维迪尔的作品。2018年,维迪尔在圣维克多山建了移动画室,并以保罗・塞尚为灵感创作了一系列画作。2019年,这批作品也在邻近的普罗旺斯区艾克斯格拉内美术馆举行的广受好评的维迪尔回顾展中展出.

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Works

Video

Fabienne Verdier: Vortex

Waddington Custot

Exhibitions and Art Fairs

Exhibitions

弗里兹网上展厅

法比恩·维迪尔

On the occasion of Frieze New York 2021, Waddington Custot celebrates the work of French abstract painter Fabienne Verdier. The solo presentation focuses on Verdier’s expression of the way in which sound energy, created by vibrations, moves through substances, inspired by her experience as the first artist in residence at The Juilliard School, New York in 2014

 

During her residency, Fabienne would join the practice sessions of musicians and singers and attempt to capture the music she heard as a visible manifestation on the page, as she described: “I closed my eyes and I heard something and I got a totally new vision of what sound is. A new structure appeared in my brain: I discovered a new form, a new dynamism which was a real revolution in my painting.”

 

This idea was further developed the following year with ‘Vide Vibration’ part of a commission by the Roberts French Dictionary, in which Verdier considers silence as a kind of inhabited emptiness, preparing our mind to the relative movement of sound energy.

 

Also included in the Frieze New York  presentation are large scale paintings in a restricted palette of just two colours, including the ‘Infra-Red’ series in blue and red. With this combination, Verdier makes reference to the edges of the light spectrum as perceived by the human eye, and the light which remains on the retina, still ‘seen’ when the eyes are closed. In this respect, Verdier was interested in the impact of light energy on our bodies, as compared to the effect of sound energy, and the continued effect of the vibrations of music once a piece of music is stopped.

 

In 2020, Verdier returned to the arias she had been inspired by at the Juilliard School to create the ‘Vortex’ series. For these large scale canvases, Verdier prepares the background over several weeks with: a single colour, worked into the surface. The single gestural motif is created with an immense brush, suspended from the ceiling of her studio by a thick chain. In the ‘Vortex’ paintings on view here, the gesture takes the form of a whirling helix, painted in response to the operatic scaling of sopranos and altos performing Mozart arias.

 

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