morning noon and evening #5

Charlotte Moth

morning noon and evening #5, 202015 x 22.5cmSign in to view price
Details
MaterialGallery
impression analogique en noir et blancMarcelle Alix
Description
Human-crafted. AI-refined.

The artwork presents a dramatic black and white landscape, capturing the intricate silhouettes of twisted, organic forms against a hazy sky. The composition emphasizes the tangled, spiky shapes of the branches and foliage, creating a sense of movement and energy. The stark contrast between light and shadow, combined with the use of negative space, lends the piece a haunting, ethereal quality. This work appears to be a photographic study that explores the natural world's inherent surreal and sculptural qualities, inviting the viewer to perceive the familiar in a new, visually captivating manner. ...

Similar Artworks
Powder Sugar
Holy Water
Tali Lennox
Holy Water, 2022
66 x 50.8cm
Marsyas (Titian)
Alex Foxton
Marsyas (Titian), 2023
220 x 136cm
Mechanical Cabaret 4
Farah Atassi
Mechanical Cabaret 4, 2023
179.7 x 250.2cm
Study (Marsyas)
Alex Foxton
Study (Marsyas), 2023
56 x 44.5cm
Veiled Prayer
Tali Lennox
Veiled Prayer, 2022
129 x 97cm
No. 866 L Reflector
Rana Begum
No. 866 L Reflector, 2018
184 x 180.5 x 4cm
Seán as Officer
Alex Foxton
Seán as Officer, 2023
41 x 33cm
Ballroom Lagoon
Tali Lennox
Ballroom Lagoon, 2022
182 x 121cm
Model on Stage
Farah Atassi
Model on Stage, 2021
200.66 x 160.02cm
Bad Spelling 01
Jo Dennis
Bad Spelling 01, 2023
50.7 x 40.5cm
No. 1360 Relief Panel
Rana Begum
No. 1360 Relief Panel, 2024
223 x 223cm
Untitled (from the series Sakura Silk Moth)
Klára Hosnedlová
Untitled (from the series Sakura Silk Moth), 2021
300 x 45 x 45cm
Sumo (Legs)
Alex Foxton
Sumo (Legs), 2021
41 x 29cm
Altar
Tali Lennox
Altar, 2021
71.1 x 55.8cm
The Party 4
Farah Atassi
The Party 4, 2018
199.39 x 160.02cm
Naked
Jo Dennis
Naked, 2024
50.7 x 40.5 x 0.1cm
No. 1158 Chainlink
Rana Begum
No. 1158 Chainlink, 2022
160 x 115 x 10cm
No. 1077
Rana Begum
No. 1077, 2021
108 x 95 x 5cm
Iingcinga zemihla ngemihla II
Asemahle Ntlonti
Iingcinga zemihla ngemihla II, 2023
52 x 47cm
Still life #11
Juliette Blightman
Still life #11, 2016
290 x 290cm
Expulsion
Tali Lennox
Expulsion, 2021
86 x 71cm
Anderson
Jo Dennis
Anderson, 2022
80 x 60cm
Untitled
Klára Hosnedlová
Untitled, 2021
294 x 193 x 3cm
The Game 2
Farah Atassi
The Game 2, 2019
180.34 x 200.66cm
Witch
The Fluttering Being
Alexandra Navratil
The Fluttering Being, 2022
Charlotte Moth
Artist
Charlotte Moth
B.1978

The work of Charlotte Moth places itself lightly in the world (...) Strong art-historical accounts of the period from 1990 onwards are hard to find, but Ina Blom’s book On the Style Site: Art, Sociality and Media Culture identifies some at least of the conditions that a group of mostly European artists were responding to in this period. Blom identifies style – notably of interiors, environments and spaces that are becoming simultaneously public and private – as a new area of concern, and as a somewhat confusing twist on the earlier twentieth-century avant-garde preoccupation with the merging of art and life. Moth’s work can be seen to share characteristics with artists such as Dominique Gonzalez-Foerster and Tobias Rehberger (among a larger group of artists discussed by Blom), in that the space of the gallery is strongly needed as the container for a complex combination of illumination, objects, furnishings and display items, histories, arrangements and images, not all of which have the same weight, physical insistence or sculptural presence. Moth does not make exhibitions that are crowded or confusing, but a complexity and a degree of uncertainty – ‘lightness’ is just one aspect of this – is folded into the objects and situations she makes (...) ‘Sculpture’ is an abiding concern for Moth, but disconcertingly, it may be produced as a side effect of other motives, as though it cannot be aimed for directly. The persistence of sculpture is consistently tested against other conditions of display and other types of spaces: living spaces, working spaces (the studio) and also spaces of representation, study and commerce. As sculpture – which is both a potential class of objects and a historical term for them that we now use uncertainly – moves through these different spaces, it seems to have become lighter. This lightness is neither a cause for celebration – as though in victory over ‘sculpture’, mass and embodiment – nor a reason for premature mourning. Lightness is perhaps more simply a condition to be felt and known. ...

Charlotte Moth: Artworks
Blues reflecting the greens
Charlotte Moth
Blues reflecting the greens, 2021
90cm
placements
Charlotte Moth
placements, 2020
50 x 39 x 12cm
The protagonists (1)
Charlotte Moth
The protagonists (1), 2010
43 x 55 x 3cm
The Protagonists (4)
Charlotte Moth
The Protagonists (4), 2010
43 x 55 x 3cm
Choreography of the Image : Inserts - Imagination (Substitute)
Charlotte Moth
Choreography of the Image : Inserts - Imagination (Substitute), 2015
130 x 203 x 27cm
Choreography of the Image : Inserts - Nature (Substitute)
Charlotte Moth
Choreography of the Image : Inserts - Nature (Substitute), 2015
130 x 203 x 27cm
Choreography of the Image : Inserts - Play (Substitute)
Charlotte Moth
Choreography of the Image : Inserts - Play (Substitute), 2015
130 x 203 x 27cm
Counter work eight, Le Confort Moderne
Charlotte Moth
Counter work eight, Le Confort Moderne, 2012
17 x 23.5cm
Counter work nine, Villeurbanne
Charlotte Moth
Counter work nine, Villeurbanne, 2015
17 x 23.5cm
Counter work seven, Dallas Biennale
Charlotte Moth
Counter work seven, Dallas Biennale, 2012
17 x 23.5cm
morning noon and evening #1
Charlotte Moth
morning noon and evening #1
27 x 39.5cm
morning noon and evening #2
Charlotte Moth
morning noon and evening #2, 2020
28.5 x 19cm
morning noon and evening #5
Charlotte Moth
morning noon and evening #5, 2020
15 x 22.5cm
Still life in a white cube, parrot
Charlotte Moth
Still life in a white cube, parrot, 2019
60 x 90cm
Lurking Sculpture (Rotating Rubber Plant)
Charlotte Moth
Lurking Sculpture (Rotating Rubber Plant), 2016
59 x 48 x 46cm
to see the things amongst which we live (6)
Charlotte Moth
to see the things amongst which we live (6), 2012
41 x 60cm
Marcelle Alix
Gallery
Marcelle Alix
Paris

We founded Marcelle Alix in 2009 in Paris and settled in a characteristic, early 20th-century boutique in Belleville. The gallery is for us a creative space, where the dialog with artists is not only meant to selling artworks, but is also based on an equal relationship to creativity. We now represents thirteen artists and two duos. Our identity has been built with the support of the artists who opened our programme (Aurélien Froment, Louise Hervé & Clovis Maillet, Charlotte Moth, Ernesto Sartori, Marie Voignier) and those we introduced to the French art scene (Pauline Boudry/Renate Lorenz, Ian Kiaer, Donna Gottschalk). During these years, we have supported broad artistic careers (Laura Lamiel, Liz Magor and Mira Schor whose work we represent exclusively in Europe) and accompanied the development of new perspectives in sculpture (Gyan Panchal, Jean-Charles de Quillacq) in video (Lola Gonzàlez), and in drawing (Armineh Negahdari). Our gallery has been a pioneer in defining a space for queer art in France : in addition to showing her work within the artist duo Boudry/Lorenz since 2011, we have directed the translation into French of Renate Lorenz's 2012 seminal book, « Queer Art » in 2018. Since 2019, we have exhibited photographs by Donna Gottschalk documenting the lives of women living with women who were involved in the lesbian movement in the United States in the 1970s. In 2023 we organised an exhibition for the Utopi.e award—first award in France for Lgbtqi+ art—for which we have invited Paris galleries Air de Paris and Sultana as fellow participants. We insist on the central role of a gallery in the ecosystem of art as a place to make idiosyncratic positions visible and weave a critical narrative around the most contemporary visual forms. ...

Unlock Price & Inquiry Access