London is delighted to present an exhibition of works by painter Nathalie Du Pasquier at 6 Burlington Gardens. On display from 27 June to 29 July 2017, the exhibition From time to time is Du Pasquier’s first solo exhibition in the United Kingdom in almost 25 years, her first exhibition in London and with Pace. Featuring over 50 artworks, most of which are new works, the exhibition continues Du Pasquier’s long-standing interest in representation, colour and assemblage. Using sculpture, painting and drawing, Du Pasquier transforms the gallery into a colourful and immersive environment.
For nearly forty years, Du Pasquier has playfully blurred the boundaries between fine art and design. Since 1987, she has dedicated herself to painting and challenging the concept of representation. As with her early
design work, her vividly-coloured paintings explore complex arrangements of forms, ideas of depiction
versus reality, and the expressive relations between objects and colours. From her landscapes of the late
1980s and early 90s, Du Pasquier’s paintings have evolved to still-lifes of carefully arranged objects and
more-abstract and imaginary compositions of dissociated surfaces and shapes. As the artist explains,
“Through the representation, I learned about looking and transforming what I saw into a painting. The
abstract work is a different kind of position. I become a builder, an inventor.”
The exhibition at Pace centres around a site-specific red room, showcasing paintings made between 2008
and 2014. Gentle colours are applied in flat expanses and the forms hint at domestic appliances and objects
such as cups and bottles, as well as more abstract constructions that Du Pasquier physically makes herself
before representing them on canvas. Self-described as a ‘painter who makes her own models’, Du Pasquier
envisages these initial wooden compositions as autonomous art objects. They will be dispersed around the
gallery alongside new abstract wooden sculptures. Du Pasquier will also paint simple ‘rhythmic’ elements
on the walls of the gallery, uniting all works in the exhibition in a single installation.
The title of this exhibition, From time to time, comes from Du Pasquier’s shift from representing constructed
compositions to constructing compositions directly on the canvas, and from representational work to
abstract work. “The paintings in the red room are traditional still-lifes representing abstract constructions,
and you do not see them when you enter the exhibition. What you’ll see instead, all around the space, is
the recent work where I have composed abstract paintings, done in the last two years, with three dimensional
elements that show the scars of time. What I want to show in From time to time is this
continuous shift from one position to another. It is in that movement that I recharge the dynamo.” – Nathalie
Du Pasquier, April 2017.
From time to time precedes two major solo exhibitions of Nathalie Du Pasquier’s work this autumn at the
Camden Arts Centre, London, and the Institute of Contemporary Art, Philadelphia.
Nathalie Du Pasquier (b. 1957, Bordeaux, France) is recognized for her painting practice and her design
work, which she developed as a member of Memphis, the Milan-based group founded in 1981 by Ettore
Sottsass. Before moving to Milan in 1979, Du Pasquier spent a year in Africa, living and traveling in Gabon,
Mali, and Niger, where she was exposed to textiles and graphics. Self-taught, she used drawing as a
starting point for her own designs, which were applied to textiles and used as the surface patterns for
In 1987, Du Pasquier shifted away from the design of graphic elements and dedicated herself principally to
painting. Through her work, she explores various modes of representation, driven by her observation of the
world and her interest in perception. She often works from models, painting still lifes that are not depictions
of reality but increasingly abstract transformations of shapes and the relationships between various
elements. Her models are constructions that she builds with painted abstract geometric shapes; since 2001,
these have come to constitute a three-dimensional element of her practice that exist as autonomous
Du Pasquier’s work has been the subject of numerous solo exhibitions at international institutions, including
Centre Culturel Français, Naples (1991) ; Museo de Arte Contemporaneo, Bahía Blanca, Argentina (1995);
Centre Culturel Français, Milan (1998); Musée des Arts Décoratifs, Paris (2004); Musée du Prieuré,
Charolles, France (2007); Institut Français, Milan (2014); and Kunsthalle Wien, Vienna (2016), Kunsthalle
Lisbon (2017). She lives and works in Milan.