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About Me
Francoise Nielly née à Marseille ; études beaux arts et prepa art deco. Photographe, illustrateur dans la publicité pendant
15 ans. De nombreuses réalisations avec de grandes agences. Vit et travaille à st ouen. Expositions 2008: Galerie Claude PetitJean. Aix en Provence 2008: Galerie Opera. Monaco 2008 : Galerie Villa Del Arte. Barcelone 2008: ArtFair Newcastle. Galerie Villa del Arte 2008 : AAF London. England. galerie Villa del ARTE 2008 : ARTFAIR MIAMI. Galerie Villa Del Arte 2008 : Artenimes. Galerie ANNE CROS. 2008 : Galerie Anne Cros. Pézénas 2007 : Galerie Menouar. Paris 2007 : Galerie de LâEurope. Paris 2006 : Galerie Menouar . Paris (événement artycolor. Givenchy) 2006 : Galerie Mensirioux. Montréal. Fort lauderdale 2006 : Galerie Lausberg. Toronto. (artfairs moscou 2006) 2006 : Galerie Anne Cros.pézénas (artenîmes) 2005 : Galerie Menouar. Paris 2005 : Galerie Anne Cros . Pézénas 2004 : Galerie Sibman . Paris 2004 : Galerie Menouar. Paris 2004 : Galerie Cinko. Paris 2003 : Galerie Stephane Olivier. ST Ouen 2002 : Galerie bdv . St Ouen 2002 : Galerie Gagnon. Montréal 2001 : Galerie Anne Cros. pezenas 2000 : Galerie de Bièvre. Paris 1999 : Galerie Michel Blais. Vancouver 1999 : Galerie Artitude.paris 1998 : Galerie Influences. Paris 1998 : Galerie Stely. St Tropez 1997 : Galerie Steglé. St Maxime Parutions Revues : blue, photo, newlook, feminitude. Films: Portrait réalisé par Marie-Christine Heinrich, visible sur plusieurs chaines (2007)Emission âchicâ sur Arte en collaboration avec Nicolas Degennes (givenchy) fevrier 2007 Add commentComments (1) The Work of Françoise Nielly The Work of Françoise Nielly David Markus Françoise Nielly It is less than easy today to discuss figurative painting "as such." One inevitably encounters the question of why, in this age of "big media" the artist has chosen to fall back on methods of representation deemed by some to be obsolete. "These media, we learn, are reality," writes Robert Hughes, "and all culture had better get on board." The traditional method painter is forced to choose between embracing the gadgetry of our times (a la James Rosenquist) or stubbornly refuting it by way of exclusion (take Alice Neel). Each approach carries with it its share of dogma, and what we are left with is a battle for representational supremacyâfor the picture of our times, and, hence, for "reality"âwith the former post-technological approach usually trumping the latter. But I would attest there is a third category for painters who, though not unaware of this debate, approach their own art making with a certain indifference toward such oppositions as modern vs. post-modern; who view the technological age as neither the "philistine counsel of despair" Hughes refers to, nor the only viable realm from which to draw artistic source material. Françoise Nielly is one such artist. Though she approaches her subject with the raw psychological intensity of Lucian Freud (the artist Hughes is defending when he speaks of the above), her paintings unabashedly incorporate a design sensibility which could have come from no other place but contemporary media. Working primarily with the palette knife, Nielly is not afraid to let the rawness of her methods dictate composition. Whimsical color choices and an unapologetic sprightliness in her application of paint speaks to both a reverence for her subject and for the process of painting itself. Generally working in large format, in close to medium range to her figures, Niellyâs paintings demonstrate focused dexterity and impulse in equal measures. Her abstract works are like Robert Motherwell filtered through a mauve and violet lens. Her figurative paintings reveal a decidedly feminine appreciation for the male body, and a keen apprehension of the supercool aloofness surrounding contemporary fashionistas. Her intersecting slabs of vibrant pigments sometimes adhere to and sometimes shatter the Freud/Ingres maxim that the most beautiful thing in art "is a color adjacent to another which most closely resembles it." The result is canvasses which one moment invoke the devil-may-care expressivity of Chaim Soutine, and the next moment seem as though they might be well suited for the advertisement pages of Vogue magazine. A startling conflux of interwoven sensibilities to say the least. But, then, that is part of Niellyâs allure. Exhibiting in St. Tropez, Paris, Montreal and Vancouver, Niellyâs approach carries with it the cross currents of a cosmopolitan lifestyle. Her subjects themselvesâmale and femaleâare as ethnically colorful as her palette (one cannot but suspect her zeal for radiant ultramarine and sumptuous alizarin was fostered by her Riviera upbringing). As if to further emphasize this savoir-faire internationalism, her individual paintingsâwhich are otherwise catalogued in the formal tradition of "Untitled" serialsâeach carry with them the name of the country (France, Canada, Dubai, Germany) in which they now live in private collections. Her most recent work has evolved beyo
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