121, Rue Vieille-du-Temple, 75003, Paris, France
Open: Tue-Sat 11am-7pm
Sat 30 Oct 2021 to Sat 5 Feb 2022
121, Rue Vieille-du-Temple, 75003 Line, Space, Texture. The Poetics of Form in the Works of Lotte Westphael, Tora Urup and Carl Emil Jacobsen
Tue-Sat 11am-7pm
Artists: Carl Emil Jacobsen - Lotte Westphael - Tora Urup
The exhibition Line, Space, Texture. The Poetics of Form in the Works of Lotte Westphael, Tora Urup and Carl Emil Jacobsen presents the works of the three Danish artists in a dialogue at the intersection between art and design.
Concrete, filler, pigments, polystyrene, steel
1510.0 × 990.0 × 80.0 mm
99 x 151 x 8 cm
© Carl Emil Jacobsen. Courtesy of the artist and Galerie Maria Wettergren. Photo: Fran Parente for Chamber
Concrete, filler, pigments, polystyrene, steel
600.0 × 450.0 × 100.0 mm
45 x 60 x 10 cm
© Carl Emil Jacobsen. Courtesy of the artist and Galerie Maria Wettergren
Fiber concrete, pigments from bricks, chalk and marble
150.0 × 480.0 × 320.0 mm
48 x 15 x 32 cm
© Carl Emil Jacobsen. Courtesy of the artist and Galerie Maria Wettergren. Photo: Clemens Kois
Fiber concrete, pigments from crushed stones
400.0 × 400.0 × 400.0 mm
40 x 40 x 40 cm
© Carl Emil Jacobsen. Courtesy of the artist and Galerie Maria Wettergren
Fiber concrete, pigments from crushed bricks
250.0 × 300.0 × 0.0 mm
Diameter: 30 x 25 cm
© Carl Emil Jacobsen. Courtesy of the artist and Galerie Maria Wettergren. Photo: Mikkel Rahr Mortensen
Fiber concrete, pigments from crushed stones
540.0 × 1000.0 × 500.0 mm
100 x 54 x 50 cm
© Carl Emil Jacobsen. Courtesy of the artist and Galerie Maria Wettergren. Photo: Jeppe Gudmundsen
Fiber concrete, pigments from crushed bricks and chalk
600.0 × 600.0 × 900.0 mm
60 x 60 x 90 cm
© Carl Emil Jacobsen. Courtesy of the artist and Galerie Maria Wettergren. Photo: Enok Holsegaard
Porcelain
370.0 × 320.0 × 0.0 mm
37 (diameter) x 32 cm
© Lotte Westphael. Courtesy of the artist and Galerie Maria Wettergren. Photo: Erik Balle
Porcelain
270.0 × 215.0 × 0.0 mm
27 (diameter) x 21.5 cm
© Lotte Westphael. Courtesy of the artist and Galerie Maria Wettergren. Photo: Erik Balle
Porcelain
225.0 × 175.0 × 0.0 mm
22.5 (diameter) x 17.5 cm
© Lotte Westphael. Courtesy of the artist and Galerie Maria Wettergren. Photo: Erik Balle
Porcelain
225.0 × 180.0 × 0.0 mm
22.5 (diameter) x 18 cm
© Lotte Westphael. Courtesy of the artist and Galerie Maria Wettergren. Photo: Erik Balle
Porcelain
130.0 × 130.0 × 0.0 mm
13 (diameter) x 13 cm
© Lotte Westphael. Courtesy of the artist and Galerie Maria Wettergren. Photo: Sylvian Deleu
Porcelain
270.0 × 190.0 × 0.0 mm
27 (diameter) x 19 cm
© Lotte Westphael. Courtesy of the artist and Galerie Maria Wettergren. Photo: Erik Balle
Porcelain
330.0 × 220.0 × 0.0 mm
33 (diameter) x 22 cm
© Lotte Westphael. Courtesy of the artist and Galerie Maria Wettergren. Photo: Erik Balle
Porcelain
320.0 × 235.0 × 0.0 mm
32 (diameter) x 23.5 cm
© Lotte Westphael. Courtesy of the artist and Galerie Maria Wettergren. Photo: Erik Balle
Porcelain
180.0 × 140.0 × 0.0 mm
18 (diameter) x 14 cm
© Lotte Westphael. Courtesy of the artist and Galerie Maria Wettergren. Photo: Erik Balle
Porcelain
180.0 × 155.0 × 0.0 mm
18 (diameter) x 15.5 cm
© Lotte Westphael. Courtesy of the artist and Galerie Maria Wettergren. Photo: Erik Balle
Handshaped, Handcut and polished glass
300.0 × 45.0 × 0.0 mm
30 (diameter) x 4.5 cm
© Tora Urup. Courtesy of the artist and Galerie Maria Wettergren. Photo: Tora Urup
Uncolored glass with colored under and overlays. Mouthblown. Handcut and polished glass
265.0 × 105.0 × 0.0 mm
26.5 (diameter) x 10.5 cm
© Tora Urup. Courtesy of the artist and Galerie Maria Wettergren. Photo: Tora Urup
Mouthblown, Handcut and polished glass
170.0 × 135.0 × 0.0 mm
17 (diameter) x 13.5 cm
© Tora Urup. Courtesy of the artist and Galerie Maria Wettergren. Photo: Tora Urup
Mouthblown, Handcut and matbrushed glass
170.0 × 145.0 × 0.0 mm
17 (diameter) x 14.5 cm
© Tora Urup. Courtesy of the artist and Galerie Maria Wettergren. Photo: Tora Urup
Mouthblown, Handcut and polished glass
320.0 × 110.0 × 0.0 mm
32 (diameter) x 11 cm
© Tora Urup. Courtesy of the artist and Galerie Maria Wettergren
Mouthblown, Handcut and matbrushed glass
200.0 × 120.0 × 0.0 mm
20 (diameter) x 12 cm
© Tora Urup. Courtesy of the artist and Galerie Maria Wettergren. Photo: Tora Urup
Mouthblown, Handcut and matbrushed glass
175.0 × 113.0 × 0.0 mm
17.5 (diameter) x 11.3 cm
© Tora Urup. Courtesy of the artist and Galerie Maria Wettergren. Photo: Tora Urup
Solid hand blown and cast glass
320.0 × 125.0 × 0.0 mm
32 (diameter) x 12.5 cm
© Tora Urup. Courtesy of the artist and Galerie Maria Wettergren. Photo: Stuart McIntyre
Uncolored glass with colored under and overlays. Blown, cut, polished
280.0 × 110.0 × 0.0 mm
28 (diameter) x 11 cm
© Tora Urup. Courtesy of the artist and Galerie Maria Wettergren. Photo: Stuart McIntyre
Mouthblown, Handcut and polished glass
310.0 × 110.0 × 0.0 mm
31 (diameter) x 11 cm
© Tora Urup. Courtesy of the artist and Galerie Maria Wettergren. Photo: Stuart McIntyre
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What do Lotte Westphael’s crisp porcelain vessels and delicate ethereal lines have in common with Carl Emil Jacobsen’s dense and massive sculptures in powdered stone, or with Tora Urup’s floating, transparent trompe l’oeil glass bowls? An uncompromising experimentation with a specific material and process, emanating from a personal poetic quest, which is both born from and transcending the material. Sensorial investigations of fundamental artistic principles, such as line, space and texture, are characteristic of their works, which at first glance may bear a certain resemblance to functional objects. However, instead of serving a purpose, these objects are poetic premises, artistic departures towards something else, leading the spectator towards a heightened perception of materials, color, light, gravity, density, rhythm, space and depth. Unexpected dialogues between these heteroclite works suddenly arise, both underlining the singularity of each artistic expression and their shared obsessions.
Since 2001, Tora Urup has shown a particular interest in exploring the visual effects obtained within a series of circular glass sculptures in vibrant colors of thin opaque and thick transparent glass. These works reflect Urup’s investigation into the specific role of color and material in our perception of volume and space, as well as her transformation of archetypes, such as the glass bowl, into dream-like objects. By combining subtle colors and making them interact, Urup enables new spatial perceptions that alter our conventional understanding of the traditional glass bowl. The inner volumes of these trompe l’oeil sculptures appear to float independently of their outer shell, and through the careful juxtaposition and treatment of the cut and polished surfaces, Urup creates the illusion of a seemingly infinite, fluid space within a physically restrained volume.
These floating crystalline glass illusions are almost diametrically opposite to the great weightiness and powdered texture of Carl Emil Jacobsen’s crushed stone sculptures. Jacobsen works with found materials, such as fieldstone, limestone, marble and bricks from demolished buildings, which he converts into fine powder natural pigments in intense colors. In homage to the subtle richness of color in the Nordic landscape, he brings new life to these powdered stones, transforming them into pigments for his Powder Variations works. These sculptures place particular emphasis on color, light, shadow and the ability of form to enhance the experience of a particular color and texture. Inspired by the theory of late Danish sculptor Willy Ørskov’s that “the content of the sculpture is sculpture”, Jacobsen’s nonfigurative sculptures exist on their own terms as abstract, physical forms fostering experiential connection over intellectual interference in the elastic borderland between nature and culture.
Lotte Westphael’s delicate and graphic porcelain vessels form an interesting counterpoint to both Tora Urup’s fluid universe and Carl Emil Jacobsen’s compact forms. Westphael works with lines and colors in geometric patterns, shaped into porcelain cylindrical vessels. Over a number of years, she has developed and refined her own personal technique in which she constructs fine strips of colored porcelain in vertical and horizontal lines. Like Urup’s and Jacobsen’s works, Westphael’s vessels have a strong tactile character that at the same time question the material and technique of the work. Like Urup and Jacobsen, Westphael works with color, but instead as fields on a curved surface: the cylinder is her three-dimensional canvas, and her process revolves around an interest in proportion and rhythm in lines, often inspired by Anni Albers’ textiles, as well as Agnes Martin’s Grids.
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