Paper and Canvas Works
At Winchester Galleries on Broad Street
November 1 – 22, 2008
Opening: Saturday, November 1, 2008
2:00 pm – 4:00 pm
In Yves Gaucher's work there is no reference to representational space but there is formal structure. One of its aspects is variously symmetry and asymmetry. In 1963 his famous 'En Hommage a Webern' series appeared. Its pattern, whereby the first work in the series is symmetrical and the following works increasingly asymmetrical, is repeated in numerous of his subsequent series.
The Weberns, comprised, as they are, of squares, lines and dashes, replace his earlier style, a biomorphic one. Key influences for the Weberns and for the closely-related signal paintings which follow are Piet Mondrian and Anton von Webern.
Gaucher's colours vary from intense to subliminal but with a transcendent quality comparable to Mark Rothko and Barnett Newman. A significant place is also given by Gaucher to visual rhythm. He leads the viewer's eye visually, not randomly. Op Art techniques, such as those found in the work of Bridgit Riley, Guido Molinari and Larry Poons, aid and abet, but while those artists' achievement is typically secular, Gaucher strives for a world of spiritual transcendence.
Newman is about size, scale and colour, and in contrast to his huge painting 'The Voice of Fire,' he usually emphasizes the episodic, i.e. the asymmetrical. In terms of those elements, there is, for the two artists, some common ground, which implies some uncommon ground. Another difference is Gaucher's more diagrammatic, metered and horizontal approach, resonant with such artists as Agnes Martin.
Gaucher's fields are refined and subtle. His sense of deep quiet is unique.