Exhibitions

The German artist Eberhard Ross follows the tradition of color field painting as practiced by Mark Rothko and Helen Frankenthaler, borrowing from the minimalism of Agnes Martin and pursuing a form of painting between the figurative and the pure. His works glow from within, radiating an almost sacred character and alluding to a spiritual level in their titles. They seem to store and release energy, they glow like dramatic sunsets, and they are able to transform a room with their incredible presence. ​Eberhard Ross imbues many of his works with a colorful halo by painting the edges of the picture, which are slanted toward the wall, in an intense color such as orange.

An interesting effect that was already used in the paintings from his “fermata” series. ​In Italian, “fermata” means “stop,” and so the “fermata” paintings are intended to encourage people to pause and reflect. ​When describing the “fermata” series, Eberhard Ross also refers to a musical phenomenon. Composers use fermatas to ask performers to prolong the duration of a note value during a performance. The tone should therefore be held beyond the normal duration indicated by its note value. We are therefore asked to take our time and surrender to the adventure of art. ​Upon closer observation, the rhythm of the painting also becomes apparent: With fine brushstrokes or through scriptural etchings in the top layer of paint, Eberhard Ross sets the image into shimmering oscillations inside a dense web of lines, thus exposing the lower layers of paint. If we follow the lineaments with our eyes, this rhythm suddenly comes into play, inherent in the monochrome images at first glance. The artist seeks to capture the sound of the colors in his painting, taking us on this journey of discovery.

​Sophie Cieslar, art historian

Opening
Thursday, March 6th

After two years of classes at ENSB-A in the life drawing section, Bonnie Colin joined the École d’Art de la Glacière in Paris, studying Painting under Martin Bissière.
She works and exhibits in her studio while also designing costumes for the theater. She met Christian Lacroix at the Comédie-Française, where she began designing textile prints for him.
Later, Sacha Walckhoff, the new artistic director of Maison Lacroix, also called upon her talent. This marked the beginning of a regular collaboration on wallpaper and fabric collections, distinguished by her unique pictorial approach using mediums such as watercolor, ink, and gouache.

At the same time, Bonnie Colin, who has a special connection to paper, continues her frenetic creative process in Japanese sketchbooks. Her latest works reveal a pictorial exploration between light and shadow, with sharp lines that delve into the secret realms of both human nature and landscapes.

Bonnie Colin was born in 1971 in Longwy.
She left Paris for the Angers region, where she has been living since 2009.

Opening
Thursday, March 13
6 PM – 9 PM