DIE DREI CLEMENTINEN

Collective residency + exhibition

Guillaume Pellay
Quentin Chambry
Alexis Poline

4.02.2017-13.03.2017
opening : 10.02.2017

Raum Vollreinigung
Wassertorstrasse 65
Berlin

diedreiclementinen


Winter in Marseille, February of 2015, Straat Gallery, friendly environment.
We drove down there in a Renault Espace, 2nd generation, more spacious than the 4th, because true luxury is space.
http://www.passion-espace-club.com/
We are here for Alexis Poline’s exhibition, « Des Paysages ». For some time now, he’s been steadily developing a serie of landscape paintings made of solid colored patterns. Often, the sky is blue, the grass and the trees are green, the sun is yellow. But at times, when the weather clears up or turns heavy, when the day rises, some areas of the painting may loose their primary tone and gain new shades.
You have to realize that the horizon is straight, that the sun is round, the trees too, three green circles aligned on this horizon will take the shape of a forest. In Marseille, his landscapes are occupied by big artificial structures, and only the sheer number of curved arches will sort out the simple bridge from the viaduct.
The paintings are large, taller than us, and the nights are short. We got five days left, Alexis isn’t ready at all, backlog.
We listen to Collapse, a mix made by Detect, and then we listen to it again, a thousand times, just like that (https://mega.nz/#!ZQVXEJZJ!PugtPIwUQDLgx38m1xCBZqhK3pfOoJSAJMEDuqcftm4).
Alexis’s solid patterns are extremely meticulous, built with layers upon layers of a very diluted acrylic paint, you have to spread it on the brush, the result must not spill or be uneven. Me and Quentin Chambry, we become used to it, we don’t have time to be bored.
But then these layers have to dry up, and then we get bored, and then we have to find something to do.
Everything becomes useful, like three beer glasses placed between two mirrors in the window display, dizzying infinite, straight to heaven. The visor of some hat turns out to be a great fruit basket.
We add a few accessories to Alexis’s panels : some clementines and a green fur pom pom, freshly cut off some winter hat. They are like jewels, or like our commentary in the margin. We hang around the newly adorned exhibition, hands in our pocket, cameras around our necks, it’s a success, a good chromatic display, rhythm – echoes – breaches.
Clementines is one of the perks of winter, its sugar, its sun.
We especially love La Soculente, packaged and tagged with refinement.

The three clementines we paint on our canvas or on their walls, the ones that the three of us install in our exhibitions right before their opening – like mistletoe during the end of the year festivities – the ones that we can’t find in summer (and that we replace by oranges) ; these three clementines of which our flag is composed, are the same that were placed on Alexis’s painting during some night in winter, the same that perfectly mirrored his three grey circles as clouds, his pale yellow circle as the sun, his deep blue as the sky.
They are the ones that made us forgot that the colors were drying up, and that we were waiting for them to dry up.

Guillaume Pellay
(translation : Donnie Ka)



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