Artists > Édith Dufaux

Édith Dufaux

Artworks

Terrasse, 2016, monotype, 17,5 x 26 cm
Terrasse, 2016, monotype, 17,5 x 26 cm
Les loups, 2010, monotype à l'encre, 120 x 80 cm
Les loups, 2010, monotype à l'encre, 120 x 80 cm
Couloir, 2017, monotype, 17,5 x 26 cm
Couloir, 2017, monotype, 17,5 x 26 cm
Sans titre, 2017, monotype technique mixte, 29,7 x 42 cm
Sans titre, 2017, monotype technique mixte, 29,7 x 42 cm
Sans titre, 2017, monotype technique mixte, 70 x 33 cm
Sans titre, 2017, monotype technique mixte, 70 x 33 cm
Sans titre, 2017, monotype technique mixte, 70 x 33 cm
Sans titre, 2017, monotype technique mixte, 70 x 33 cm
Terrasse, 2016, monotype, 17,5 x 26 cm
Les loups, 2010, monotype à l'encre, 120 x 80 cm
Couloir, 2017, monotype, 17,5 x 26 cm
Sans titre, 2017, monotype technique mixte, 29,7 x 42 cm
Sans titre, 2017, monotype technique mixte, 70 x 33 cm
Sans titre, 2017, monotype technique mixte, 70 x 33 cm

Exhibitions(principal)

Personal

Collective

Biographie

1959 Born in 1959 Graduate of the Ecole National Supérieure des Arts Décoratifs de Paris.

1990 One-woman show at the Cartier Foundation. After the birth of her children she no longer exhibits but designs several movie and opera sets, and some ceilings (Musée de la Chasse, Musée de la Tapisserie Aubusson).

2004 Publishes “Territoires” (Actes Sud, 2010).

2014 Participates in two exhibitions in Paris “Autres Tropiques and “Tout va Bien”. (Jean-Michel Marchais is the exhibition commissioner).

2015 Produces graphic works for the film “Vienne avant la nuit” by Robert Bober, adapted in literary form and illustrated at Editions P.O.L. (released in 2017)

2016 Participates in two exhibitions “Marelle 1” and Marelle 2” at the Center of Contemporary Art in Montreuil (commissioner of the exhibition : Jean-François Chevrier).

Présentation

Edith Dufaux, for family reasons, has worked very discretely since her one-woman show at the Cartier Foundation in 1991, except for some rare small exhibitions, notably at the Montreuil Contemporary Art Center in 2016 where we discovered precise and thoughtful monotypes without affectation.
Her ink monotypes constitute the essential part of her recent work. Various “mental”, precisely framed scenes, silent and almost dreamlike, unroll themselves in resonance with the artist’s memory. One feels the tensions between the subject and surrounding space. The sense of the image remains in suspension.
“I spent my childhood in a black and white paper universe,” says the artist. The walls of her apartment were papered with photos cut from newspapers and family portraits, the memory of which partially escaped me. The big and little story cohabited.
The series of Monotypes takes up the theme of cohabitation, no longer on the walls but in the image, a history both collective and intimate, exploring the hallucinatory relationship between body, space and memory.
“The tension produced between the figure and space depends upon the necessary questioning as to what sense be given to the image. This must stay “open” to any interpretation.”
(E.D.)