Marea. Florentine and Alexandre Lamarche-Ovize
Marea, 2017. Room 3. General view
Fantin-Latour 1 Cocktail, 2017. Charcoal on wall. Specific Site
The Host, 2017. Glazed pottery. 120 x 30 x 30 cm
Nemesis, 2017. Glazed pottery. 65 x 40 x 40 cm
Court Bouillon, 2017. Glazed pottery. 65 x 30 x 25 cm
Marea, 2017. Room 3. General view
Gustave et Henri 4, 2017. Charcoal on paper. 110 x 170 cm
Gustave et Henri 2, 2017. Charcoal on paper. 110 x 170 cm
Marea, 2017. Room 2. General view
Barbodoigts (Egg And Cloud), 2017. Glazed pottery. 40 x 20 x 40 cm
Barbodoigts (Mad), 2017. Glazed pottery. 40 x 20 x 40 cm
Marea, 2017. Room 2. General view
Marea, 2017. Room 1. General view
Varengeville, 2017. Wool. 250 x 250 cm
Press release
Luis Adelantado is pleased to invite you to Marea, the second solo exhibition of the French artist duo Lamarche-Ovize at our gallery. Many views are expressed in Marea, and multiple processes and outcomes are defined, always following a language of their own, acquired through experience and reinforced with every new project. Their language is full of irony and grotesque nuances, and is put forward mainly through drawing, as a discipline that is expanded to pottery as well as walls and paper.
Lamarche-Ovize propose a transversal reading of their work, starting with delicate hybrid white, black and red-enamelled pottery—produced in the historic Nevers porcelain manufactory—, moving onto a series of charcoal drawings in which they capture their own lost paradises. In contrast to the elegance and neatness of Nevers ceramics, the French artist duo is also presenting a series of sculptures in which some of their most valued icons stretch hands in an unparalleled contemporary baroque gesture.
The presence of a gobelin tapestry in the exhibition is also worth mentioning. These large and historic French tapestries were closely linked to certain avantgarde artists, like Sonia Delaunay and Miró, among others. Their relationship with the French Arts & Crafts and avant-garde movements is unquestionable and can be seen both in their way of understanding contemporary art and in the projection of their work through a wide range of techniques; a contemporary manifesto with the consent of the avant-gardes.
