LUCIE FONTAINE : VOID-A-VOID
The Promenade Gallery is proud to present “VOID-A-VOID,” Lucie Fontaine’s first solo show in Albania.
her desire to subvert the alphabet of contemporary art, Lucie Fontaine
presents here for the first time a series of what she calls “rhizomatic
the work of Roy Lichtenstein or George Seurat, this medium is
characterized by a series of dots (a reference to Deleuze and Guattari)
and a grid (referring to Michel Foucault).
drawing and color—a connection to the Renaissance and Vasari’s giving
precedence to drawing over painting and sculpture—the works are
figural, but, can be seen at the same time as representing as pure
The painting reinterprets Beato Angelico’s Saint Anthony the Abbot tempted by a Lump of Gold, the original of which is on view at the Museum of Fine Arts in Houston.
work, replicated several times, exists as a digital image. Once printed
and framed, its size and technique (inject print, digital print, etc.)
can change any time.
fact, for this show, the work has been “created” according to the
frame: first the frames and then the works inside in the frames, rather
than the other way around.
Lucie Fontaine is thus trying to fill the void—the empty frames— as well as to avoid the
classic path. The title of the show plays with the words “void” and
“a-void” and also refer to the seminal work-show by Yves Klein
entitled Le Vide (The Void), displayed at Galerie Iris Clert in Paris.
Fontaine is an art employer who lives and works in Colmar. Her two* art
employees define her as the Jamie Lynn Spears of contemporary art
“pregnant and in search of easy success.”
*L’Anti-Oedipe was written by the two of us, and since each of us was several, we were already quite a crowd.’ Gilles Deleuze and Felix Guattari, A Thousand Plateaus, 1. Introduction: Rhizome.