Edwige Fouvry Synthetic Visions Coming to Dolby Chadwick Gallery
Edwige Fouvry is a French artist, born in Nantes, France in 1970. She is a contemporary figurative and landscape painter, interested in finding order and structure in chaos.
Lightning Strikes: 18 poets. 18 artists.
Exhibition at Dolby Chadwick Gallery, San Francisco
“Galleries You Loved The Most In December”
“être au monde” -Association rémanence, Volets 1 et 2, Loft de la Galerie Tarasieve, Paris.
“Apparition, Disparitions” -Peintures de Lou Ros et Edwige Fouvry, Galerie Guido Romero Pierini, Paris , France.
Edwige Fouvry at Dolby Chadwick
Painting people in places
San Francisco Chronicle
by Stephanie Wright Hession
Edwige Fouvry at Dolby Chadwick Gallery
by John Seed
Dolby Chadwick Gallery participates in the third annual artMRKT fair at Fort Mason Center
artMRKT San Francisco, the Bay Area’s premier contemporary and modern art fair, will feature 70 galleries from around the globe, bringing some of the world’s most intriguing artists and galleries to San Francisco. In showcasing historically important work alongside relevant contemporary pieces and projects, artMRKT will create an ideal context for the discovery, exploration and acquisition of art.
This show, titled “Ars Memoriae,” marks Edwige Fouvry’s first solo show in the US. Fouvry is a French artist living in Belgium, where her work has been exhibited since 1995. Antecedents for her highly original painting, which render the human figure with discomforting intimacy, can be seen in paintings by Oskar Kokoschka, Lucien Freud and Marlene Dumas. Observation, memory and imagination interact in Fouvry’s painterly response to figures and faces, and, now also to landscape. These are intimate paintings, not large in scale, and done with a fluid, elegant brush, creating a smooth texture for canvases of modulated luminous color. A blood red surrounding the eyes in the woman’s head in Portrait de Nuit (2011), evokes a feeling of sorrow, if not pain.
This painting, like other renditions of the human face, in Le Voeu Secret (The Secret Wish) (2011) and the tragic Seul (Alone) (2011), are mysterious images of vulnerability and endurance.
They call to mind philosopher Martin Buber’s famous essay “I and Thou,” in which he postulated the concept of “Dialogical Encounter.” In these paintings by Fouvry, we are dealing with a painter whose committed encounters with her subjects evokes in turn the viewer’s resonant response.
A photograph of her grandparents’ wedding, transmuted by the artist’s memory and feelings, is the source of Le Mariage (2011). The wedding took place in the countryside and the painter has the couple emerge from a dark forest, the grandfather still partly covered by the trees, while his wife, in contrast to his blue-black person, is painted in off-white with a patch of yellow, further highlighting the contrast between the male and female. A diagonal branch cuts across the couple on the bottom, separating them from the viewer’s access.
There are also a number of small landscapes in the show, as well as the large L’arrivée a Donant (Arriving in Donant) (2011). Donant is an island off the coast of Brittany and Fouvry responded to this wild landscape by painting a dark mass of trees on a wide white river flowing slowly down the very edge of the canvas.
Above the river, separated only by a thin strip of land, is a large sky, rendered with a bluish tint in a painting, which, it seems to me, is a visual dialogue between earth and sky.
Kenneth Baker reviews Edwige Fouvry’s exhibition “Ars Memoriae” for the San Francisco Chronicle
Edwige Fouvry: Re-embodied
April 2012 by Kenneth Baker
Fouvry at Dolby Chadwick: The recent work of Brussels painter Edwige Fouvry at Dolby Chadwick shows her engaged in an effort paralleling Fuss’ to an extent. Like him, she seems to want to reawaken a lost or dimmed sense of bodily immediacy that may have belonged to her medium in less image-riddled times. “Le Voeu Secret” (2011), measuring about 5 by 4 feet, confronts us with the image of a head, probably but not certainly a woman’s.
The space surrounding the figure is rich in optical cues – deep here, shallow there, pointedly ambiguous as to scale – but refuses to locate it legibly. Both the looseness of Fouvry’s brushwork and the head’s disconnection from the space around it lead us to see it not merely as isolated or afloat, but as severed.
The grayness of the face’s complexion reinforces the repellent hint of a post-mortem view. The mind retreats to the fact that severed heads make many appearances in the history of art, frequently with biblical sources. But an echo of physical recoil persists.
Not all of Fouvry’s work has the confrontational power of “Le Voeu Secret,” but all of it reflects more or less her search for a body-to-body channel of communication with the work’s viewers.
Her landscapes make a sweeter impression than most pictures in which human forms appear, but looking at them also involves a continual weighing of illusionistic promptings against the physical assertions of brush marks and color.
Drawing plays a visible part in Fouvry’s address to a large canvas; but on paper, except at their most abstract, her marks turn crabbed and finicky. A page apparently lacks the open space her hand needs to outrun conscious intention.