« Aurélie Nemours, painting and concepts »
Aurelie Nemours’ work developed on the sidelines of fashions and artistic evolutions of the 20th century, while being anchored into the problems of her epoch: abstraction and the questioning of meaning in pictorial representation. This thesis, titled “Aurelie Nemours, paintings and concepts” aims at tracing back the historical, conceptual and artistic stakes, involved in the uncommon creative evolution of an artist so far poorly known.
The first part of the thesis situates Nemours’ work in the context of history of art, by following the artist’s progression towards abstraction. The second part analyses the four fundamental concepts structuring Nemours’ artistic creation, from the study of her pictorial production and interviews she gave towards the end of her life. The square as form of variation is her main concept. It enables her to work with colour as a harmony and the number as the subjacent structure, so as to better reveal rhythm and void as keystones of her work. Although founded on numerical rapports and chromatic harmonies, Nemours’ work cannot however be merely reviewed through a formalist analysis: Nemours herself has always claimed a spiritual dimension which brings philosophy into her work. Closer to Malewicz or to Mondrian for her faith in art (which is a form of utopia), considered to be one of the major characters in concrete art, in Max Bill or Joseph Albers’ lineage, Nemours creates an authentic work of art, asserting durably geometrical abstraction as a pictorial language and offering vast creative potentialities for contemporary artists.
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