Emilie Gossiaux || After Image
June 7 - July 8
False Flag is proud to present Emilie Gossiaux’s first solo gallery exhibition — After Image.
The show will inaugurate the gallery’s new exhibition space at 11-22 44th Rd, Long Island City, NY.
On view June 7 - July 8, there will be an opening reception Thursday, June 8 at 6pm.
Gossiaux worked predominantly in sculpture following the loss of her sight, experimenting
with a wide range of media and scale, as well as performance. In her diverse, ever-evolving body of work, she demonstrates a rare fearlessness in both technical and conceptual choices. Prior to her near-fatal traffic accident, Gossiaux was a painter. Far from an arbitrary departure, Gossiaux’s latest work represents both a return and a progression. Undeniably personal, these pieces are bold - risky, even - moving her practice in exciting new directions. As she explains, “I use physical memories: how an object fits in the palm of my hand, its weight and texture, or its size in relation to my body."
Over the past year, Gossiaux has carefully collected large textiles. She selects particular
fabrics: absorbent enough to stain and thin enough to allow oil paint to bleed through without
completely distorting the image. Hanging unstretched, the painted cloths read as objects, paintings,or pieces that evade categorization - demonstrating her singular sensitivity towards material. In Gossiaux's words: "since losing my vision eight years ago, I no longer create using visual references. I rely on memories of colors, shapes, and spaces.” Drawn largely from dreams, the imagery has a sincere immediacy - earnest without being obvious. Gossiaux begins by laying paper over a soft rubber board. Using a graphite pencil or ballpoint pen, the tip of the drawing tool presses down into the paper, creating marks which puff up and become tactile. While her right hand is drawing, her left hand follows the line, feeling what is drawn. As she explains: “Touching is like seeing: my drawings are plans on which I base my sculptures and paintings.”
The paintings in Bleed-Through series are inspired by the material qualities of each fabric: size,
color, pattern, and texture. Gossiaux examines hundreds of candidates before selecting a specific textile. Once a piece is chosen, it is tacked to a moveable section of wall. Selected drawings are scanned, then printed to fit on particular cloths. Gossiaux maps the composition using physical markings such as tape, templates, or stencils, and meticulously dictates how each paint is mixed (for example: 60% alizarin crimson, 30% rose pink, and 10% titanium white). The applied paint saturates the fabric, bleeding through onto the backing wall. The visible, tactile evidence of this mark-making process yields the four pieces of the Wall Work series.