Lamarche-Ovize

Marea

Marea, 2017

Florentine and Alexandre Lamarche-Ovize. Room 3. General view

Marea, 2017

Florentine and Alexandre Lamarche-Ovize. Fantin-Latour 1 Cocktail, 2017. Charcoal on wall. Site specific

Marea, 2017

Florentine and Alexandre Lamarche-Ovize. The Host, 2017. Glazed ceramic. 120 x 30 x 30 cm

Marea, 2017

Florentine and Alexandre Lamarche-Ovize. Nemesis, 2017. Glazed ceramic. 65 x 40 x 40 cm

Marea, 2017

Florentine and Alexandre Lamarche-Ovize. Court Bouillon, 2017. Glazed ceramic. 65 x 30 x 25 cm

Marea, 2017

Florentine and Alexandre Lamarche-Ovize. Room 3. General view

Marea, 2017

Florentine and Alexandre Lamarche-Ovize. Gustave et Henri 4, 2017. Charcoal on paper. 110 x 170 cm

Marea, 2017

Florentine and Alexandre Lamarche-Ovize. Gustave et Henri 2, 2017. Charcoal on paper. 110 x 170 cm

Marea, 2017

Florentine and Alexandre Lamarche-Ovize. Room 2. General view

Marea, 2017

Florentine and Alexandre Lamarche-Ovize. Barbodoigts (Egg And Cloud), 2017. Glazed ceramic. 40 x 20 x 40 cm

Marea, 2017

Florentine and Alexandre Lamarche-Ovize. Barbodoigts (Mad), 2017. Cerámica esmaltada. 40 x 20 x 40 cm

Marea, 2017

Florentine and Alexandre Lamarche-Ovize. Room 2. General view

Marea, 2017

Florentine and Alexandre Lamarche-Ovize. Room 1. General view

Marea, 2017

Florentine and Alexandre Lamarche-Ovize.Varengeville, 2017. Lana. 250 x 250 cm

Marea, 2017

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Luis Adelantado is pleased to invite you to Marea, the second solo exhibition of the French artist couple Lamarche-Ovize at the gallery. In Marea many looks are manifested, and multiple processes and results are defined. Always following their own language, acquired through experience, and that they strengthen with each new project. Their language full of irony and grotesque nuances is expressed mainly through drawing, as a discipline expanded to ceramics, wall and paper.
Alexandre and Florentine Lamarche-Ovize propose a transversal reading of their work, starting with the delicate hybrids of black, white and red glazed ceramics produced in the historical ceramic factory of Nevers-, passing through a series of charcoal drawings -in which they capture their own lost paradises-. In contrast to the ceramics, which have an elegant and neat character, the French artists also present a series of sculptures in which, in an unparalleled exercise of contemporary baroque, some of their most cherished references come together.
The presence of a gobelin in the exhibition deserves a special mention. These historic tapestries of large format and millenary French tradition were closely linked to certain avant-garde artists, such as Sonia Delaunay or Miró, among others. The relationship with the avant-garde and with the Arts & Crafts movement of the French is unquestionable and we can see it in their way of understanding the contemporary, as well as in the projection of their work. A manifesto of the contemporary, with the approval of the avant-garde.

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