Claire Tabouret

The idea was to work on the printing process: repetition producing a unique aspect. That's what monoprint is: you're printing and you're making a unique work. And Picasso, he played a lot with this kind of reproduction that makes unique works. [Centaure et Bacchante] is an ink on paper work with watercolor added to it, which gives it a unique aspect.

We wanted something that's part of a multiple but remains singular. I'm super into this for my own practice and I love how Picasso plays with it too, because it shows an appetite. You're super productive, and in every work you have so many potential directions. When you have this kind of multiple printing process, you can really play with that. Each time you add a little something, it pulls it in one direction or another.

— Claire Tabouret in conversation with Louisa Mahoney

In her paintings, drawings, works on paper, and sculptures, Tabouret scrutinizes time, identity and connection. Her works, whose tonalities are sometimes dark and sometimes acidic, exude theatrical ambiguity. Tabouter’s painting process often begins with a primary fluorescent layer, establishing an underlying chromatic tension between the natural and the artificial.