This abstract artwork features a minimalist composition of geometric shapes and muted colors. The predominant elements are a large off-white rectangle, a smaller grey rectangle, and subtle pops of red and blue. The overall arrangement creates a sense of balance and simplicity, highlighting the artist's attention to form, space, and negative space. The style and technique suggest a focus on the formal qualities of painting, reflecting an approach common in 20th-century abstract art. The artist's intention may have been to explore the interplay of basic shapes and colors, inviting the viewer to contemplate the essence of visual perception. ...
In her painting, Alexandra Noel seems to deploy all the conventions for the depiction of our everyday lives in a style which is not hyper-figurative, but hyper-visual, forever leaning towards an exaggeration of the visual field, be it microscopic or macroscopic, while also being ready to stretch over an approximate 180-degree angle. And this work is even akin to an attempt at an extreme perception of objects and environments in an analytical retranscription.
Her works on intimately scaled wooden or stone panels, explore a vast range of subject matter and styles. Within their consistent format they often represent an exhibition in itself, like in “moveable walls” series — fragments of the gallery architecture showcasing precisely selected routine objects due to their shape, visual effects or their link to reality. Each painting is an aftermath of sophisticated layering of ideas and perspectives — tornado is seen from a car window, pieces of cake surprisingly find themselves under the table, tiny snail visits an exhibition of painting, rubies and red blood cells roll from a huge mountain. Alexandra Noel introduces her illusionistic method by constantly inverting scales and sizes, making miniature objects appear bigger and vice-versa, zooming in and out, seeing from from above or seeing from a section view. The Droste effect is about a picture appearing within itself - Alexandra Noel’s effect is about a recursive picture appearing within an elusive reality, constantly altering the paradigm of viewer and subject. ...
Crèvecœur, founded in 2009 by Axel Dibie (born 1981) and Alix Dionot-Morani (born 1979), located in the Belleville area (eastern Paris) has, since its creation, presented artists from France and the rest of the world whose different practices question current conditions for producing images and objects. The gallery sees itself as a body that supports its artists in the various stages of production, demonstration and dissemination of their practice. Through its work inside 3 gallery spaces — a 160 sq.m. space in Eastern Paris (20e) with natural light that can host ambitious exhibitions; and two spaces in the historic centre of Paris (7e) through the co-creation, since 2015, of a new alternative fair called Paris Internationale; through a publishing house called oe publishing books by represented and invited artists; and through support for production of the institutional shows of the represented artists, Crèvecœur is an entity which aims to adapt, in an organic way, to the challenging systems that contemporary artists experience today. ...
