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Les fenêtres sur les bleus
2024 -
A more straightforward, more refined, more minimalist register with more character
Continuing the work from her first series, Les Révélations, whose main current is abstract expressionism, Anaïs LF moves towards the Colorfield movement. In this series, she expresses herself through flat areas of bright colors.
At the same time as she continues her series on outrenoir waves, through which she explores the luminosity of black, she explores blue. First, Majorelle blue, then Klein blue. One never really paints Majorelle or Klein, by the way...
Inspirations
Musiques et lieux associées
Billie Holiday, Louis Amstrong, Joséphine Baker, Marseille, Les Montagnes de l'Atlas (Maroc)
Artists
Pierre Soulages, Jacques Majorelle,
Lieux associés
Hope, energy
A blue that brings you back to life
These pigments are so difficult to imitate. If she seeks her tone with mixtures of other pigments, she never quite achieves the same clarity; if she desires clarity, saturation must be sacrificed. Spending a few days in Marseille, she becomes undeniably drawn to the electricity of blue, alongside black. White, black, and blue contrast with each other. For a long time, she was asked to paint blue. Until then, she had only painted the work “Pacification,” with its blue and gold tones.
But in a more straightforward, more refined, more minimalist register, and with more character as well, this blue runs through this entire series. It brings life. In this sense, it is the first color she paints again after the Outrenoir series. It revives. It gives hope.
She doesn't paint black for black's sake, but for contrasts. Next to black, white or even blue become whiter and bluer.
Inspiration des vagues outrenoires, Anaïs LF
Creative process: first smooth and shiny layers, then deep furrows and complex interlacing.
Like Jacques Majorelle, "dust plays a major role in his paintings.
In this series, she multiplies new techniques. After the manipulation of brushes in her series The Path, The Waves, she now masters new materials. She uses in particular large rolls of Scotch tape. She alternates between several types of brushes: flat, round, wide, thinner for the edges. She often uses, especially in the center of the paintings, knives that allow her to slide the paint on the canvas. What is striking and comforting in these techniques is the way in which she applies thick layers of paint that she stretches very little, and that she presses lightly with a knife so that they barely spread. The layers of blue are often very thick, while the black is almost always stretched. Indeed, the black areas are smooth, integrated into the canvas to reveal the alternation of the cotton of the canvas and the black paint. Still with acrylic paint, these areas of black paint almost give the impression of areas painted with black ink.
Some works making up this series
No name
60 x 80 cm
2024
No name
110 x 75 cm
2019
golden hours
110 x 75 cm
2022
gratitude
70 x 80 cm
2022