"At the Seams" is her first show with the gallery and her first in Asia. With their deeply saturated palettes and fragmented forms, Orchard’s paintings accomplish an impressive duality: swimming within the currents and eddies defined by modernist figurative painting, while also freely incorporating fresh contemporary narrative into her work. Her scenes—domestic and languorous in tone—depict women in repose and repeatedly ask quiet questions about viewership, voyeurism, and artistic ownership of the female form
Perrotin Hong Kong has presented a solo exhibition by Japanese artist Aya Takano, marking the artist’s second presentation at the Hong Kong space, since her debut in 2012. In these series of ten paintings and twenty-four drawings, Aya Takano has created an ode to Hong Kong like no other, capturing its landscapes, its culture and its quirks, in a happy and colourful tribute that puts on display the artist’s intimate affection for the city.
Perrotin presented the fifth solo exhibition of Lee Bae at the gallery and the second in Paris. This time, Lee Bae has chosen to show five series of works as well as a large installation, all corresponding to his last twenty years of work. We find the series Issu du feu, with its famous paintings made with pieces of charcoal; Landscape, defined by these large abstract landscapes radically separated into two spaces, one white, the other black; Untitled, composed of canvases designed with charcoal ink and acrylic medium. And we discover two new series, never before shown in France: the first, Brushstroke, and the second, Issu du feu (White lines).
Perrotin New York presented Come to Me Again, an exhibition of twenty works by Bernard Frize, taking over two floors of the gallery. For four decades, Bernard Frize has been developing his signature style of process-oriented abstraction. As an artist he explores the bare minimal essence of painting, devoid of conception and aesthetic, instead focusing on an industrial approach to making art. Working in series, he conducts experiments, exploring all the possible visual outcomes of preconceived protocols. While each series records the peculiar dynamics of a predetermined technique, his vibrant abstractions also allow for chance.
Perrotin was pleased to present an exhibition of historic works by the late pioneer of Kinetic art, Jesús Rafael Soto. Opened on March 5 in New York, Perrotin has presented a survey of works from 1956– 1974, when Soto was at the heart of the art scene both in Europe and the Americas, and leading up to his groundbreaking Penetrables series.
Perrotin was pleased to present Cristina BanBan’s second exhibition with the gallery and her first in Paris. For this occasion, the artist favors a gestural and expressive language to represent the human figure. BanBan’s paintings present visual murmurs and echoes of her own geographical journey. Elements associated with European modernist figuration merge with a gestural abstraction more often associated with the postwar American avant garde. This exhibition showcases BanBan’s fertile painting practice—a place where rapid experiments in expression define forms that emerge and withdraw from the canvases amidst a rapid aura of brushstrokes.
Perrotin was pleased to present Nick Doyle’s second exhibition with the gallery and his first ever in Paris. For this occasion, the artist presents familiar imagery, front-facing yet with a caustic slant, addressing heightened clichés of masculinity and a dark vision of forgotten American territories. He deliberately and objectively flips history and genre painting—and the generation of stereotyped images and other modernities—upside down. Here the “low” subject defeats the “high” work in a game of transfigured savoir-faire and meticulous, luxurious techniques, which involve handwork, an artisanal virtuosity applied to registers of forms and notconforming structures. In a tone borrowed from sharp satire, Nick Doyle nips at the perverse edges of our contemporary era and its serious entropy.
