Alexandre Lenoir

Sur le fil / On the Edge


Brussels

The gallery is temporarily closed to visitors

Inquire about the exhibition:
inquiries@alminerech.com

  • , Sur le fil, 2020
    Acrylic on canvas
    Acrylique et huile sur toile de coton
    99 x 99 cm
    39 x 39 in
  • , Après l’orage, 2020
    Acrylic and oil on canvas
    Acrylique et huile sur toile
    161 x 166 cm
    63 3/8 x 65 3/8 in
  • , Cascade, 2020
    Acrylic and oil on canvas
    Acrylique et huile sur toile
    176 x 255 cm
    69 1/4 x 100 3/8 in
  • , Eve, 2020
    Acrylic and oil on canvas
    Acrylique et huile sur toile
    208 x 286 cm
    81 7/8 x 112 5/8 in
  • , L’Etang, 2020
    Acrylic and oil on canvas
    Acrylique et huile sur toile
    183 x 294 cm
    72 1/8 x 115 3/4 in
  • , Ce qui nous lie, 2020
    Acrylic and oil on canvas
    Acrylique et huile sur toile
    407 x 287 cm
    160 1/4 x 113 in
  • , Autel, 2020
    Acrylic and oil on canvas
    Acrylique et huile sur toile
    191 x 301 cm
    75 1/4 x 118 1/2 in
  • , Sur le bord, 2020
    Acrylic and oil on canvas
    Acrylique et huile sur toile
    255 x 171 cm
    100 3/8 x 67 3/8 in

Press release

Lenoir's paintings are like sour candy. They shock you right away, assaulting your taste buds, releasing sugar and citric acid. The colors persist on your retinas. (...)

These landscapes, interiors, and buildings are as ephemeral as memories, bearing the nostalgia of the past. Like snapshots from an old photo album or flashes of dreams, they are unified through light around the human figure. An ambiguous hedonism inhabits these visions, drawing on the multiple identities of Alexandre Lenoir and influenced by the Caribbean (he lived there during his youth and is from there by his mother), Morocco (where he did a one-year residency), and the industrial neighborhood of Paris where he has his studio. With their large scale and their location on the lower level of the Brussels gallery, these works immerse the viewer in a visual experience that recalls diving into a pool. The diaphanous light of these paintings is offset by shifting color ranges, a textured appearance, and figures that are lacking in detail. This realism echoes the work of many 21st-century painters, including Peter Doig, Daniel Richter, and Adrian Ghenie, indulging in all the pleasures of this age-old medium while still offering a reconstructed digital vision of reality.

- Sébastien Gokalp