Solo Exhibition by Cédrix Crespel
30 November 2018 - 20 January 2019
La Galerie Paris 1839 is delighted to present French artist Cédrix Crespel’s solo exhibition Deep Pola. This is the first exhibition of Crespel in Hong Kong and the collection contains 15 pieces of work. One of his works will be displayed in the form of mural in Aberdeen Street, adjacent to Hong Kong’s iconic cultural site PMQ. There have been many different murals in areas such as Central and Sheung Wan which have already established the name for culture. In the presence of the new mural, viewers can also be immersed in the artist’s creation outdoor. Deep Pola will be open to public from 30 Nov 2018 to 20 Jan 2019 in La Galerie Paris 1839.
How I Feel Better 1
Oil on canvas, 100 x 100 cm
Inspired by the polaroids taken by his muse and partner Tiphaine, Deep Pola is selection of paintings revolving their daily life as married couple: Crespel, the man and a painter, and Tiphaine, the woman, simultaneously as muse, photographer, subject and object of desire. While Tiphaine captures the sincere photographs without specific tricks and aesthetic pretense, Crespel’s romanticism gives imaginative details to his paintings.
The works are not only a photographic conversation between the couple portraying their reconciliation and the pleasure of their intrigue, harmonized identities, but are also a means for Crespel to question on the representation of Woman. He, depicting images of independent and passionate women who play the roles that society is willing to give them, finds answers through his paintings. He immerses himself physically in his art without being inhibited by conceptual, semantic and rational concerns.
Abandoning the mise-en-scene and focusing on the shapes, movements, fractures and colours, he eliminates wide-angles and zooms in on meaningful details. ‘I tend to capture things instead of trying to present them by any means and freezing all the possible interpretations in one unique meaning,’ says Crespel.
‘The Deep Pola series mocks the binary opposition between the traditional couple and progressive relationship with renewed seduction and shared obsession. The same applies to the painter and his muse, the oil paintings and the polaroid,’ he continues.