Françoise GILOT: Confessions in Colour November 29, 2011 - January 14, 2012
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The exhibition to open on Saturday November 26th 2011 in the renewed space of Várfok Gallery ought to be rang in as a jubilee one-woman show, as Françoise Gilot will celebrate her 90th birthday on that day – the date of the opening was so chosen on purpose.
This exhibition, the sixth individual exhibition of Gilot in Várfok Gallery will at the same time present a side of the artist only slightly known by the Hungarian public. Although there were previous opportunities to see some of her paperworks in Hungary, such a large scale of them was never shown before, and even, so many works of Gilot were never yet presented here.
What is to be said about the painter’s ’undiscovered side’, i.e. her paperworks, is that Gilot, connoisseur and user of different techniques such as gouache, watercolour, ink, will introduce herself this time in the role of the ’lithograph and monotype printmaker Gilot’. The fact that the genre of paper is capable of revealing another approach within one artist’s life-work is not a recent thing to tell (Várfok Gallery has for example presented a group exhibition of that aspect titled On paper in the beginning of 2010), that is it can become very exciting to place the emphasis on a different aspect in one’s œuvre.  
The jubilee occasion is an excellent possibility to rediscover in a ’retrospective way’ the progression of the past seven decades’ creation: Françoise Gilot had the explicit wish to place another aspect of her art at the forefront for the Budapest exhibition and doing so, give the opportunity to form a more global view of her œuvre.
The roots of her art’s essential part are to be found – as the art lover public could experience that due to the past exhibitions in Hungary – in the first two-three decades of the 20th Century painting, which fact is not surprising considering the list of the masters who have inspired her, Matisse in the first place. Of course, Picasso’s name cannot be here left out, but it is important to notice apropos of her drawings and paperworks that she tried to ’remain distant as possible’ the giant painter exactly through this medium.
The major part of the now presented works is composed of lithographs and monotypes. Thanks to them, it becomes possible to get an insight into Gilot’s work of decades ago, to fly back to the 50s and 70s and to get a sample of her motif-world of that time.
What we can affirm about Gilot’s œuvre is that through her unique paperworks one is able to encounter a much more direct world, whereas in the case of the lithographs and the monotypes, one will discover her associations of ideas, streams of thoughts and experiences. One of the most earlier works to be presented in the confines of the Budapest exhibiton is dated 1952: Gilot had this year a solo show at Daniel-Henry Kahnweiler’s gallery (on the picture we see her holding one of her paintings there), the lithographs were made for that occasion, e.g. The Daisies.
    We see Gilot’s pictorial world reflect on her paperworks, but a lighter and freer world, a more playful approach will uncover to the spectator: while Gilot will try to cut out from her paintings all those elements which seem to be unnecessary, she will allow herself some kind of ’constructed spontaneity’ on paper.
    The exhibited works are bathing in a magnificent colour-aura, in symbol-like motifs, in abstract references, in figurative scenes refering to journeys, all that depending in which year’s creation we are looking at. It is an occasion to discover a more global aspect of Gilot’s art and to consider the shown works, completed with the projected film, as some kind of confessions, confessions told in the language of colours.

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