NATHALIE DU PASQUIER

Complimenting these recent works, Saint Fairy Anne includes a 1998 still life, natural things and a plyer. Here, objects appear oversized and floating in space, bestowing an almost talismanic charge to the flotsam of an artist’s studio. Chosen intuitively for this presentation, the work demonstrates the broad shifts that have taken place in Du Pasquier’s practice over the past two decades. We move from “paintings of things”, in which three-dimensional objects are arranged in two-dimensional space, towards “paintings as objects”, where form and perspective are broken down and reconfigured, generating a more fluid relationship between colour, form and spatial dynamics. Even when returning to still life paintings, as in two 2024 paintings exhibited here, the focus is on outline, with radically simplified forms echoing the artist’s shift towards abstraction.

The exhibition’s title,Saint Fairy Anne, offers a play on words: a phonetic Anglicisation of “ça ne fait rien”, or “it doesn’t matter”. Along with the artist’s irreverent ink drawing on which these words appear, it offers an injection of humour, playfulness and experimentation in art-making. Though often using graphic forms, Du Pasquier’s paintings maintain a distinctly analogue feel – the artist’s hand leaving a painterly finish and off-kilter verve.