Galerie Chevalier presents two tapestries from Hiquily
Story of a meeting, creation of two tapestries
The fruit of a happy collaboration between the Hiquily Committee, the Galerie Chevalier and the Atelier Catherine Bernet, the La Sprinteuse and La Détachée tapestries celebrate the artist's talent through a medium that he only explored during his lifetime. briefly in the early 1960s. Together, the Galerie Chevalier and the Committee select_several works by Philippe Hiquily. The silhouettes selected are those of La Sprinteuse, Indian ink on paper from 1989 and La Détachée or La Linotte, Indian ink on paper from 1977. The female figure of La Sprinteuse first appeared in the artist's work in 1987 with watercolor and ink on Le Café paper. "Hiquilyenne creatures", La Sprinteuse and La Détachée are displayed against a white background, in the heart of the bass-string tapestries made by Atelier Catherine Bernet in Felletin. In a desire to create_exceptional pieces, Amélie Margot Chevalier, Céline Letessier and Tara Hiquily choose to make only 3 editions of each tapestry, from these boxes.
A black silhouette, whose feminine curves recalls the simplification of Hiquilian forms, stands out against a white background, forming a timeless colored duality. With La Sprinteuse, the lines of the athlete's legs, arms and neck are borrowed from movement, in an anthropomorphic aesthetic, which also suggests the body of an insect. The breasts of the sportswoman nevertheless accompany the dynamic gestures of the female figure at the head of Lilliputian. The volume of the buttocks is emphasized by the lines of the legs and arms. Omnipresent in the face, their allure evokes the artist's furniture and sculptures.
The Sprinter
Low smooth tapestry
Based on an Indian ink by Philippe Hiquily from 1989
Woven in wool and cotton (cotton warp and wool weft)
2020 - Edition 1/3, Edition Galerie Chevalier
Artist's monogram woven at bottom center
Bolduc signed by the beneficiaries
H. 2.00 x W. 1.50 m / H. 6ft7 x W. 4ft 11
The silhouette of La Détachée is slimmer. Her chest occupies the largest volume of the tapestry, although the curves of her buttocks are emphasized. Detached from her body, as if carried by her slender arm, her breasts symbolize her femininity. Its more angular look is reminiscent of the artist's work in the 1970s and 1980s: the lines bend later in his production.
Games of shapes, curves and counter-curves, black and white, full and empty, make up these works by Philippe Hiquily.
The Detached
Low smooth tapestry
Based on an Indian ink by Philippe Hiquily from 1977
Woven in wool and cotton (cotton warp and wool weft)
2020 - Edition 1/3, Edition Galerie Chevalier
Artist's monogram woven at bottom center
Bolduc signed by the beneficiaries
H. 2.00 x W. 1.50 m / H. 6ft7 x W. 4ft 11
1/2
Catherine Bernet, lissière, has set up her tapestry workshop in her house in the heart of Felletin, about ten kilometers from Aubusson. It thus reconnects with this Creuse tradition where each family housed the loom around which the economic and social links of this region were woven. If this image of Epinal is not completely foreign to this installation, the current need to open up to the world has led Catherine Bernet to imagine an autonomous artisanal structure where, surrounded by the two weavers who have joined her workshop, she can tackle large-scale tapestries.
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