L'échappée belle

Erin Lawlor |  BRAM VAN VELDE


maY 24 - June 23 2018

press release   


"L'échappée Belle"

Erin Lawlor |  BRAM VAN VELDE







PRISME to invite the galerie Pauline Pavec gallery for the exhibition


L'Echappée Belle

Erin Lawlor | Bram Van Velde  



From May 24 to June 23 2018




The skin


Standing in the garage, we look at her latest works. A gouache strikes me in particular. An obvious structure establishes itself and our eyes begin to wander from top to bottom. Suddenly we realize that there is another way to look at it and we abandon the first interpretation to pursue a second. Yet then a third possibility emerges… Are we then carried away and then lost, without rest, due the expression, immersed in color, in the currents of energy, in the tensions and transparencies, in the abundant sensation of gushing and vitality – life seized at its beginning. 


In Charles Juliet’s journal, Rencontres avec Bram van Velde, the glittering effect of the writer’s friendship for the painter silences a strange paradox. So much has been said for the extreme solitude, the artist’s seclusion in his atelier, that one does not see the joy and the true goodness. In inviting the artist Erin Lawlor, something else can be read, through the unenclosed color and suspended gesture. Just a glance conveys the artist’s intentions. The pale rose colored cabochons brimmed with water, the drip of midnight navy towards the bottom of a gouache, Sans titre, 1978. The large wave of shimmering pink, slightly twisted, stains the forest green and chartreuse yellow of Pretty Green, 2017. The triangular constructions in blue, dark purple or terra cotta in the gouache of the Chapelle de Carouge, 1972. And the undulating strip of saffron next to the slivers of red and green in Homeward, 2017. It is pleasing to see from one work to the next how the value of the gesture changes. A fixation of a moment; a depth of the surface that spans time and unites two artists.


On the floor of her London studio, Erin Lawlor paints large formats that occasionally exceed the scope of arm and hand, and works, as she says “in the wetness”. She is obligated to work in a short period of revelation; it would be absurd to call this spontaneous. It is rather oriented towards the impulse, of lively decisions full of pattern and color. An artist of her time, publishing on Instagram a chronical including works by De Kooning, Per Kirkeby, Frank Auerbach and many others, Erin Lawlor paints quickly. She works on the edge of her dojo, juxtaposing speed and languidness, the ephemeral and the fixed, bodies of color and the tenacious shadow of a near black. A painting of skin.


Laurent Boudier



Extrait de Rencontres avec Bram van Velde, Charles Juliet, édition P.O.L.