Calculations and Visions - Paintings and Sculptures

In this exhibition, we wanted to highlight fundamentally divergent approaches to geometric abstraction: on the one hand, calculated reflection, and on the other, an empirical method where the act transcends thought.
Charles Bézie and Isabelle de Gouyon Matignon work in very different ways in the conception of their art.
In the latest paintings we are presenting at the gallery, Charles Bézie revisits a theme he explored in the 1990s: the Orthogonals. At that time, only gray, blue, and black tones were present. This time, Charles Bézie conceives his "Orthos" with more playfulness; color is present again, in the form of primary colors, against a dominant black background. Yellow, which had disappeared for nearly 30 years after its first appearance in works titled "The Primaries," created on white backgrounds, returns. Charles Bézie constructs his paintings using numbers (the Fibonacci sequence or golden ratio), but also right angles or primary colors; the construction of his works is a development linked to a calculated design.
While remaining within the realm of geometry, here in the field of sculpture, Isabelle de Gouyon Matignon approaches the conception of her works in a radically different way. Her sculptures appear to her as visions, imposing themselves on her mind as a single entity. Their haunting presence compels the artist to bring them to life in space, first on paper, then in cardboard, and finally in metal, either as solid forms or simply hollowed out, visible only by their outlines.
The conception of her works stems from an empirical principle, unlike that of Charles Bézie. Isabelle de Gouyon Matignon treats emptiness and fullness indifferently; the base of her sculptures betrays an imbalance that makes them fragile; they waver and make the geometric construction hesitant, like an uncertain idea.