Line, Space, Texture. The Poetics of Form in the Works of Lotte Westphael, Tora Urup and Carl Emil Jacobsen

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Open: Tue-Sat 11am-7pm

121, Rue Vieille-du-Temple, 75003, Paris, France
Open: Tue-Sat 11am-7pm


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Line, Space, Texture. The Poetics of Form in the Works of Lotte Westphael, Tora Urup and Carl Emil Jacobsen

Paris

Line, Space, Texture. The Poetics of Form in the Works of Lotte Westphael, Tora Urup and Carl Emil Jacobsen
to Sat 5 Feb 2022
Tue-Sat 11am-7pm

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.

Artworks

Black Lines I, Relief, 2016

Concrete, filler, pigments, polystyrene, steel
99 x 151 x 8 cm
© Carl Emil Jacobsen. Courtesy of the artist and Galerie Maria Wettergren. Photo: Fran Parente for Chamber

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Black Lines, Small Relief, 2016

Concrete, filler, pigments, polystyrene, steel
45 x 60 x 10 cm
© Carl Emil Jacobsen. Courtesy of the artist and Galerie Maria Wettergren

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Dark Red Powder Variation #3, 2018

Fiber concrete, pigments from bricks, chalk and marble
48 x 15 x 32 cm
© Carl Emil Jacobsen. Courtesy of the artist and Galerie Maria Wettergren. Photo: Clemens Kois

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Green Powder Variation #1, 2018

Fiber concrete, pigments from crushed stones
40 x 40 x 40 cm
© Carl Emil Jacobsen. Courtesy of the artist and Galerie Maria Wettergren

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Orange Powder Variation #1, 2016

Fiber concrete, pigments from crushed bricks
Diameter: 30 x 25 cm
© Carl Emil Jacobsen. Courtesy of the artist and Galerie Maria Wettergren. Photo: Mikkel Rahr Mortensen

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Pink Powder Variation #3, 2017

Fiber concrete, pigments from crushed stones
100 x 54 x 50 cm
© Carl Emil Jacobsen. Courtesy of the artist and Galerie Maria Wettergren. Photo: Jeppe Gudmundsen

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Red Powder Variation #6, 2017

Fiber concrete, pigments from crushed bricks and chalk
60 x 60 x 90 cm
© Carl Emil Jacobsen. Courtesy of the artist and Galerie Maria Wettergren. Photo: Enok Holsegaard

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Golden Polyrhythm Gradient, 2021

Porcelain
37 (diameter) x 32 cm
© Lotte Westphael. Courtesy of the artist and Galerie Maria Wettergren. Photo: Erik Balle

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Polyrhythm Gradient Reddish, 2020

Porcelain
27 (diameter) x 21.5 cm
© Lotte Westphael. Courtesy of the artist and Galerie Maria Wettergren. Photo: Erik Balle

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Reddish Colorblend, 2021

Porcelain
22.5 (diameter) x 17.5 cm
© Lotte Westphael. Courtesy of the artist and Galerie Maria Wettergren. Photo: Erik Balle

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Blue Grid Gradient, 2021

Porcelain
22.5 (diameter) x 18 cm
© Lotte Westphael. Courtesy of the artist and Galerie Maria Wettergren. Photo: Erik Balle

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Bluestriped Gradient Syncope, 2021

Porcelain
13 (diameter) x 13 cm
© Lotte Westphael. Courtesy of the artist and Galerie Maria Wettergren. Photo: Sylvian Deleu

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Large Yellow Polyrhythm, 2021

Porcelain
27 (diameter) x 19 cm
© Lotte Westphael. Courtesy of the artist and Galerie Maria Wettergren. Photo: Erik Balle

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Multilayer Polyrhythm, 2021

Porcelain
33 (diameter) x 22 cm
© Lotte Westphael. Courtesy of the artist and Galerie Maria Wettergren. Photo: Erik Balle

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Multilayered Blue, 2021

Porcelain
32 (diameter) x 23.5 cm
© Lotte Westphael. Courtesy of the artist and Galerie Maria Wettergren. Photo: Erik Balle

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Untitled - Homage to Agnes Martin, 2021

Porcelain
18 (diameter) x 14 cm
© Lotte Westphael. Courtesy of the artist and Galerie Maria Wettergren. Photo: Erik Balle

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Yellow Textile Syncope, 2020

Porcelain
18 (diameter) x 15.5 cm
© Lotte Westphael. Courtesy of the artist and Galerie Maria Wettergren. Photo: Erik Balle

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Sky Reflections, Night Blue, 2019

Handshaped, Handcut and polished glass
30 (diameter) x 4.5 cm
© Tora Urup. Courtesy of the artist and Galerie Maria Wettergren. Photo: Tora Urup

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Blue Transparent - Maroon, 2021

Uncolored glass with colored under and overlays. Mouthblown. Handcut and polished glass
26.5 (diameter) x 10.5 cm
© Tora Urup. Courtesy of the artist and Galerie Maria Wettergren. Photo: Tora Urup

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Cylinder with Floating Bowl. Plum, 2015

Mouthblown, Handcut and polished glass
17 (diameter) x 13.5 cm
© Tora Urup. Courtesy of the artist and Galerie Maria Wettergren. Photo: Tora Urup

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Encased Scarlet Red, 2021

Mouthblown, Handcut and matbrushed glass
17 (diameter) x 14.5 cm
© Tora Urup. Courtesy of the artist and Galerie Maria Wettergren. Photo: Tora Urup

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Jadegreen and Clear Layers, 2015

Mouthblown, Handcut and polished glass
32 (diameter) x 11 cm
© Tora Urup. Courtesy of the artist and Galerie Maria Wettergren

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Mat Cylinder with Floating Bowl. Translucent Black, 2019

Mouthblown, Handcut and matbrushed glass
20 (diameter) x 12 cm
© Tora Urup. Courtesy of the artist and Galerie Maria Wettergren. Photo: Tora Urup

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Matt Cylinder with Floating Bowl, Cobalt Blue, 2019

Mouthblown, Handcut and matbrushed glass
17.5 (diameter) x 11.3 cm
© Tora Urup. Courtesy of the artist and Galerie Maria Wettergren. Photo: Tora Urup

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Onion, Multilayered Glass, 2016

Solid hand blown and cast glass
32 (diameter) x 12.5 cm
© Tora Urup. Courtesy of the artist and Galerie Maria Wettergren. Photo: Stuart McIntyre

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Persimmon. Opaque and Transparent, 2021

Uncolored glass with colored under and overlays. Blown, cut, polished
28 (diameter) x 11 cm
© Tora Urup. Courtesy of the artist and Galerie Maria Wettergren. Photo: Stuart McIntyre

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Plum-Red and Clear Layers, 2015

Mouthblown, Handcut and polished glass
31 (diameter) x 11 cm
© Tora Urup. Courtesy of the artist and Galerie Maria Wettergren. Photo: Stuart McIntyre

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Galerie Maria Wettergren Line Space Texture 1

Galerie Maria Wettergren Line Space Texture 2

Galerie Maria Wettergren Line Space Texture 3

Galerie Maria Wettergren Line Space Texture 4

Galerie Maria Wettergren Line Space Texture 5

Galerie Maria Wettergren Line Space Texture 6

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.

Courtesy of the artists and Galerie Maria Wettergren. Photo © Gregory Copitet


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