2024
The Moths, CRAC, Alsace, France
The Moths, CRAC, Alsace, France
Like invisible ink that can only be revealed when exposed to a flame, the figures that inhabit Luisanna González Quattrini’s oil paintings appear gradually before our eyes. A school of sea monsters, a network of humanoid mushrooms and a levitating body pulled by the radiant force of a solar orb all float throughout the landscape, in a constant process of liquefaction and solidification. Raised in a country shaped by the presence of the sea, the artist dilutes her oceanic feeling * in canvases full of ambivalence. At times, these organisms seem to take shape in the water. Other times, they seem to breathe their last within this transforming mass. Luisanna González Quattrini paints primeval visions in which each atom emerges and dissolves in a primordial soup, erasing the illusion of separation between beings.
Text by Maria Gamboa
Curated by Richard Neyroud
Text by Maria Gamboa
Curated by Richard Neyroud
2024
Kunstkredit, Kunsthalle Basel, Switzerland
Kunstkredit, Kunsthalle Basel, Switzerland
Large, colourful surfaces are here stacked up to create shimmering masses. As if removed from gravity’s reach, they rise up in rectangular towers whose form is defined by the width of the paintbrush. These Acumulaciones are a profoundly painterly reflection, in which space, motif, and colour enter in an inexhaustible dialogue capable of endless modulation. Here, the image is painting and painting is the image. This grandiose, tangible brilliance is matched by small, almost effaced paintings, somewhere appearing and disappearing.
Everything seems to be just a hint , a suggestion, and an evanescence. Shapes and figures are successively absorbed by the canvas . Together beings and nature cohabit in dreamlike worlds, often aquatic. Luisanna Gonzalez Quattrini’s elusive images demand special attention , a receptiveness’s to the unspeakable, the fleeting, the dissolving. It takes time to comprehend such dreamscapes, to allow the unconscious to float freely, unmoored; but only then do the transparent veils of colour yield up their secrets.
Curated by Séverine Fromaigeat
Everything seems to be just a hint , a suggestion, and an evanescence. Shapes and figures are successively absorbed by the canvas . Together beings and nature cohabit in dreamlike worlds, often aquatic. Luisanna Gonzalez Quattrini’s elusive images demand special attention , a receptiveness’s to the unspeakable, the fleeting, the dissolving. It takes time to comprehend such dreamscapes, to allow the unconscious to float freely, unmoored; but only then do the transparent veils of colour yield up their secrets.
Curated by Séverine Fromaigeat
2024
De Mémoire, Luisanna González Quattrini, Lumière pure, MAMCO, Genève, Switzerland
De Mémoire, Luisanna González Quattrini, Lumière pure, MAMCO, Genève, Switzerland
DUO 2023
Luisanna Gonzalez Quattrini, Max Leiss, Nicolas Krupp Gallery, Basel, Switzerland
Luisanna Gonzalez Quattrini, Max Leiss, Nicolas Krupp Gallery, Basel, Switzerland
2022
(Un)certain Ground, Kunsthaus Pasqu’art
Biel, Switzerland
(Un)certain Ground, Kunsthaus Pasqu’art
Biel, Switzerland
Luisanna González Quattrini’s painting lives from a general instability of forms,
figures and colours, which do not seem to exist solidly on the canvas. Through the thinly applied oil paint, the figures float motionless in a constantly vanishing and changing environment. The movement is evoked solely by areas of colour, whereby the human figures have a rather decorative role, disappearing on the canvas.
SOLO EXHIBITION, 2022
Una luz me cegó otra vez, Galería Crisis
Lima, Perú
Una luz me cegó otra vez, Galería Crisis
Lima, Perú
SOLO EXHIBITION, 2021
Le Printemps de Septembre,
La Folle du Logias, Musée les Abbatoir
Toulouse, France
Le Printemps de Septembre,
La Folle du Logias, Musée les Abbatoir
Toulouse, France
On sait depuis longtemps qu’une partie de notre activité psychique échappe à notre contrôle. Quand elles affleurent à la conscience, les images qui en sont la manifestation se caractérisent par leur insaisissabilité, leur propension à se dissoudre. Les tableaux de Luisanna González Quattrini sont issus d’une attention sensible à cette évanescence. Ce qu’on y voit ou, plus souvent, ce qu’on y entrevoit semble sur le point d’apparaître ou de disparaître. L’univers visuel de LGQ est celui d’une instabilité fondamentale, celle de l’aquatique. Au flou initial succède chez le regardeur l’idée d’une image, d’une scène qui s’esquisse, d’une allusion qui s’évapore. Des personnages quasi informes, animaux ou silhouettes humaines, émergent des légers voiles de couleurs diaphanes qui flottent sur la toile. Ce sont des créatures à peine élaborées, de fugaces «émergences-résurgences», d’étranges situations oniriques. Leur brève coalescence permet de les apercevoir sans les cerner, de croire les reconnaître sans les identifier.
Avec LGQ, la peinture procède d’une expérience mentale qu’elle propose au regardeur de partager. Elle s’adresse à une communauté des rêveurs à l’affût sur les lisières de l’inconscient, là où l’imagination franchit le gué vers l’insu.
Parfois, la peinture semble prendre le dessus sur l’image. Ce sont des piles ou des amoncellements qui bâtissent alors les tableaux. On dirait qu’il s’y joue une joie du premier jour. Comme si l’inquiétude des rêves avaient cédé place au simple éclat des couleurs, à une conscience éblouie.
Curated by Christian Bernard
Avec LGQ, la peinture procède d’une expérience mentale qu’elle propose au regardeur de partager. Elle s’adresse à une communauté des rêveurs à l’affût sur les lisières de l’inconscient, là où l’imagination franchit le gué vers l’insu.
Parfois, la peinture semble prendre le dessus sur l’image. Ce sont des piles ou des amoncellements qui bâtissent alors les tableaux. On dirait qu’il s’y joue une joie du premier jour. Comme si l’inquiétude des rêves avaient cédé place au simple éclat des couleurs, à une conscience éblouie.
Curated by Christian Bernard
SOLO EXHIBITION 2021
Le Printemps de Septembre, Galerie Jean-Paul Barrès
Toulouse, France
Le Printemps de Septembre, Galerie Jean-Paul Barrès
Toulouse, France
SOLO EXHIBITION, 2018-2019
Accroupissements, Musée des Beaux-Arts, La Chaux-de-Fonds, France
Accroupissements, Musée des Beaux-Arts, La Chaux-de-Fonds, France
PUBLICATION
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art&fiction, éditions d’artistes
Luisanna Gonzalez Quattrini paints visions of a timeless world that tell the truths of today. But under the shimmer of fresh colors, these truths conceal disconcerting oddities. The artist seems to cultivate a childhood of the gaze that reveals the repressed adults. On his canvases, innocence competes with regression, reasons seem governed by bodies, instincts dominate urbanity; in his subjects as in matter itself, the fluids control the masses.
The artist elaborates her subjects on small paintings that she uses like a notebook. Some are then taken up and reworked into larger compositions. One of his main subjects concerns the overflows of consciousness. The recurring presence of animals in his paintings testifies to a pre-civilized attachment to the environment. Between them, his characters also allow their animality to express themselves and thus find themselves in relationships that are foreign to social norms.
The omnipresence of water invites us to let ourselves be carried towards the subconscious images attached to this element: water evokes both the matrix of all life and the danger of death. Between mountains of impasto and liquid expanses, his works are therefore ambivalent: they allow both a symbolic reading – revealing a relationship to the physical world free from all taboos – and a more fundamental reflection on the constituents of painting.
David Lemaire
The artist elaborates her subjects on small paintings that she uses like a notebook. Some are then taken up and reworked into larger compositions. One of his main subjects concerns the overflows of consciousness. The recurring presence of animals in his paintings testifies to a pre-civilized attachment to the environment. Between them, his characters also allow their animality to express themselves and thus find themselves in relationships that are foreign to social norms.
The omnipresence of water invites us to let ourselves be carried towards the subconscious images attached to this element: water evokes both the matrix of all life and the danger of death. Between mountains of impasto and liquid expanses, his works are therefore ambivalent: they allow both a symbolic reading – revealing a relationship to the physical world free from all taboos – and a more fundamental reflection on the constituents of painting.
David Lemaire