Seeking inspiration at the crossroads between the sensibilities of the Masters of ancient China and the painters of the Italian and Flemish Renaissance, the imagery Fabienne Verdier creates is firmly rooted in the most minimal yet monumental of gestures. Relying on custom-made paintbrushes constructed with various animal hairs — and often as tall and heavy as the artist herself — every bit of painterly minutia is magnified on an unprecedented scale.
A ten-year student of Chinese painting and philosophy, Verdier now separates her time between France and Canada, but her time spent studying in China continues to constitute what we love so much about the artist’s work.
There’s a brazen kind of minimalism to much of the artist’s paintings, a never ending paradox where the simplicity of Verdier’s work is constantly contradicted through the exaggeration of her gesture. Unapologetically linear from afar, there a sense of violent movement as the viewer draws closer to the artist’s monumental picture surfaces. The seemingly unintentional smattering of paint which surrounds the main forms are almost reminiscent of the blood spatter after a gun has been fired – Verdier’s enthusiastic mutilation of the tools of her trade becomes a precondition for such immense beauty.