Max Farago et Annabelle d’Huart
3 rue Corneille – Paris
23 juin 2022 au 3 juillet 2022
Annabelle d’Huart, throughout her long and distinguished public career in the worlds of design, fashion, and photography, has also tirelessly maintained her own highly personal practice as an artist-into which she now invites the wider world that her art, through a lifetime of looking, has distilled into
a singular vision As a young photographer working in New York City, d’Huart trained her eye on the epochal 1970s
milieu of Robert Ryman, Dan Flavin, Donald Judd and others. As a partner in life and work with the visionary architect Ricardo Bofill, she shared in the development of the historically significant and public-spirited projects of his Taller de Arquitectura.
As a designer of jewelry, she has worked with such figures as Karl Lagerfeld and Yohji Yamamoto.
Her work as a jeweler and ceramicist is included in the permanent collections of the Solomon R.
Guggenheim Museum and the Sevres Cité de la Céramique. For all these contributions to culture, d’Huart was recognized in 2013 as a Chevalier/Knight of the French Order of Arts and Letters With FARAGO gallery, D’Huart now opens to public view, in her residence on Place d’Odeon in Paris, an intimate body of work that reveals her lifelong passion for artisanal techniques and material practices. Hers is a vision of architecturally minimal restraint, yet also of voluptuary curves and lapidary colors. Tabulae is a serial project of works on tablet-like boards (2.5x27x38 cm), each with an undercut beveled perimeter whose gilded edge projects a luminous halo; along with a porcelain-smooth white Meudon substrate, onto which d’Huart draws ribbon-like lines of geometry.
Intricately layered in colored pencil, these marks manifest the sensual fluidity and lambent translucency of watercolor and woodgrain. This current work fulfills the visual research undertaken by d’Huart in her earlier Shitao project, which catalogued the calligraphic creations of the eponymous 17th-Century Chinese Buddhist monk.
In Tabulae, the tangency and contingency between line and frame recalls documentary photography at its most serendipitous and modern architecture at its most choreographic. It is drawn from a celebrated and cosmopolitan
life, of quiet intensity, ferocious curiosity, and a humanist’s interest in how the world is seen and made.