Bombshell
Bombshell
Bombshell
Bombshell
Details
MaterialGallery
black kraft paperLovay Fine Arts
Description
Human-crafted. AI-refined.

The image depicts a minimalist, abstract sculpture composed of sleek, dark gray geometric shapes. The overall composition features a series of angular, overlapping planes that create a sense of depth and visual interest. The smooth, polished surfaces and sharp edges suggest a focus on materiality and precise craftsmanship. The subject matter is non-representational, emphasizing form, volume, and the interplay of light and shadow. This work likely reflects the artist's exploration of modernist aesthetic principles, using simple, geometric forms to create a striking, visually arresting piece. ...

Similar Artworks
Essence of Stone
Maria Returns to Nativity, Tchaubo Land
Cassi Namoda
Maria Returns to Nativity, Tchaubo Land, 2020
121.92 x 167.64cm
Tourism: Moonwalk Apollo II Mission
Laurie Simmons
Tourism: Moonwalk Apollo II Mission, 1984
101.6 x 152cm
Mechanical Cabaret
Farah Atassi
Mechanical Cabaret, 2023
250 x 180cm
In the Dark; Off the Air
Michael & Chiyan Ho 何麦克&何智仁
In the Dark; Off the Air, 2021
160 x 180cm
Portrait of Jimmy DeSana (Donald Duck Hat)
Laurie Simmons
Portrait of Jimmy DeSana (Donald Duck Hat), 1978
35.6 x 27.9cm
Figure Babel (11)
Patricia Perez Eustaquio
Figure Babel (11), 2017
152.4 x 99cm
Still Life With Eggs
Farah Atassi
Still Life With Eggs, 2020
146.05 x 114.3cm
Bright Sleep
Poppy Jones
Bright Sleep, 2021
25.7 x 19.35cm
Midway Downstream
We delight in earthly offerings, a good rain shower has arrived in Quelimane today
Cassi Namoda
We delight in earthly offerings, a good rain shower has arrived in Quelimane today, 2021
152.4 x 213.36cm
Blue Hair/Red Dress/Green Room/Arms Up
Laurie Simmons
Blue Hair/Red Dress/Green Room/Arms Up, 2014
177.8 x 121.9cm
Woman in Profile
Farah Atassi
Woman in Profile, 2020
185.42 x 139.7cm
The Love Doll / Day 14 (Candy)
Laurie Simmons
The Love Doll / Day 14 (Candy), 2010
177.8 x 119.4cm
D'après La Bataille d'Alger (1966) de Gillo Pontecorvo
Zineb Sedira
D'après La Bataille d'Alger (1966) de Gillo Pontecorvo, 2021
84 x 57cm
The Bather
Farah Atassi
The Bather, 2018
184.78 x 139.7cm
Warm/Wild
Poppy Jones
Warm/Wild, 2021
23.16 x 17.48cm
A Holy Spirit of conviction
Cassi Namoda
A Holy Spirit of conviction, 2021
152.4 x 182.88cm
Coming Together
Adam Stamp
Coming Together, 2023
102 x 72cm
When I met my first spiral
Ariana Papademetropoulos
When I met my first spiral, 2019
250 x 200cm
Untitled (Serpent)
Judith Hopf
Untitled (Serpent), 2015
100 x 65 x 50cm
Purple Woman / Gray Chair / Green Rug / Painting
Laurie Simmons
Purple Woman / Gray Chair / Green Rug / Painting, 1978
12.7 x 8.9cm
A Mussiro woman's gaze beguiles a passerby
Cassi Namoda
A Mussiro woman's gaze beguiles a passerby, 2021
152.4 x 213.36cm
This Song Has No End
Edit Oderbolz
This Song Has No End, 2023
Tender Stain
Poppy Jones
Tender Stain, 2021
25.7 x 19.35cm
Mesmerizing Pagoda Lantern – Cabbage-Butterfly Aquatic Ultramundane Flowers
Haegue Yang
Mesmerizing Pagoda Lantern – Cabbage-Butterfly Aquatic Ultramundane Flowers, 2023
116 x 70 x 70cm
The Hunters Enter the Woods
Patricia Perez Eustaquio
The Hunters Enter the Woods, 2016
290 x 500cm
Marie Gyger
Artist
Marie Gyger

Gyger’s peculiar economy of means and the poor materiality of the work address the frequently absurd overproduction in contemporary art to which she reacts as an artist by developing her light and recyclable paper-folding technique. Several of the works on view were made last summer in her former Paris studio, have since been recycled, and now re-created for the current exhibition. This is an intentional rupture with logistical burdens, ownership, paper trails, and all the questions behind them. Gyger’s works are handmade, but not in the sense of craft with an emphasis on the “artist’s hand”. As if in a small factory, she works “by hand”, but in a standardized manner. Just as paper is an affordable and recyclable material, folding (Origami) is a modest technique that exists autonomously. The procedure is based on basic Euclidean geometric rules that allow to reflect upon the world in a very small scale as in a child’s game. Each form that Marie Gyger folds is measured against the paper from which it emerges and within the space that is allotted to it. Like cells halve themselves to multiply, the repetition starts with the double, one becomes two and increases by implements. The motif of the double folds itself into the work by the recurrent use of the diptych and the way she plays with double entendre. It is precisely from the two-dimensional space of the sheet of paper that Gyger creates forms in three dimensions. These worlds become mental spaces populated by haunting motifs, articulated in their multiple physical and psychological dimensions. Her compositions evoke Clarice Lispector’s descriptions of quiet, luminous domestic spaces which subtly invoke traumatic imprints. The bottles and the glasses which twirl around playfully testify to sharing, to the party but also to alcoholism, excess, and social exuberance which leads to drama; the hands symbolize social relations, friendship, but also business deals, trafficking and dirty hands (avoir les mains sales); The folded shirts evoke care, a tidy home, but also the work environment and its homogenized uniforms that refer to Kafkian visions as much as to the cells of Peter Halley. Repetition is a versatile literary and artistic device: to repeat is both meditative and nerve-racking; reduction as much as excess; a technique for learning as much as it exhausts meaning; and repetition is reassuring when it is a routine but it becomes terrifying when it is submerging. Gyger uses the apparent innocence of signs to exploit their ambivalence and reveal their underlying tragedy ...

Marie Gyger: Artworks
Bombshell
Party I
Marie Gyger
Party I, 2023
151 x 65.5 x 4cm
Les Affaires
Marie Gyger
Les Affaires, 2022
151 x 65.5 x 4cm
Lovay Fine Arts
Gallery
Lovay Fine Arts
Genève

Unlock Price & Inquiry Access