Near the "palais du Louvre" a giant spider overlook the classical sculptures in jardin des Tuileries.
“My childhood has never lost its magic, it has never lost its mystery and drama.”
The work of Louise Bourgeois, in many ways unique and unamenable to aesthetic categorization, moves between abstract geometries and organic realities, the artist exploiting every kind of form and material as required. Bourgeois thus shifted from the rigidity of wood in the Fifties to the liquidity of plaster and latex in the Sixties, before turning to marble and bronze in the Seventies and Eighties. In the Nineties she started using found objects to produce environments she calls Cells, evoking feelings, sensations, or childhood memories, and since mid-1990 she has been using fabric and clothing to make curious figurines, entwined couples, columns, and heads.
The motifs of sewing, of needle and thread, have been present throughout the career of this daughter of tapestry restorers, finding especially dramatic expression in the maternal, protective and reparative figure that is the Spider. A monumental version of the spider, entitled Maman, 1999, will be installed in the Jardin des Tuileries.
The artists favoured themes are maternity, the couple, childhood, the body, sexuality and the ambivalence of gender, references to autobiography and private experience that have become essential touchstones for much contemporary art.1
More photos on: http://archeologue.over-blog.com/article-18577188.html
Exhibited in april, may & june 2008 in Jardin des Tuileries.
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at 15:53 on July 19th, 2008
Near the "palais du Louvre" a giant spider overlook the classical sculptures in jardin des Tuileries.
“My childhood has never lost its magic, it has never lost its mystery and drama.”
The work of Louise Bourgeois, in many ways unique and unamenable to aesthetic categorization, moves between abstract geometries and organic realities, the artist exploiting every kind of form and material as required. Bourgeois thus shifted from the rigidity of wood in the Fifties to the liquidity
of plaster and latex in the Sixties, before turning to marble and bronze in the Seventies and Eighties.
In the Nineties she started using found objects to produce environments she calls Cells, evoking feelings, sensations, or childhood memories, and since mid-1990 she has been using fabric and clothing to make curious figurines, entwined couples, columns, and heads.
The motifs of sewing, of needle and thread, have been present throughout the career of this daughter of tapestry restorers, finding especially dramatic expression in the maternal, protective and reparative figure that is the Spider. A monumental version of the spider, entitled Maman, 1999, will be installed in the Jardin des Tuileries.
The artists favoured themes are maternity, the couple, childhood, the body, sexuality and the ambivalence of gender, references to autobiography and private experience that have become essential touchstones for much contemporary art.1
More photos on: http://archeologue.over-blog.com/article-18577188.html
Exhibited in april, may & june 2008 in Jardin des Tuileries.
in Press release Centre Pompidou Paris