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Gerard Henry - Exhibition 1998 - Espace Segalen - Hong Kong
Lindy Foss-Quillet's work is essentially abstract, although she has used figurative imagery at times.She finds herself drawn to the painting movements of the 1960's to 1980's, working in a lyrical form of abstraction or abstract expressionism, depending on her work at the time. Her painting is gestural, the brush movements are easily observed on the surface of the canvas. Colour is the predominant force, the vivacious tones highlight the emotional nature of the work. "Emotion is my catalyst, my driving force. My method is simple : I observe, enter the studio and transpose."
Lindy Foss-Quillet works on more than one painting at a time, hovering, moving from one to the other, going back and forth, discarding one for another only to return again. Her painting is at it's best when she reaches her personal "overdrive" a blend of delibaration and spontaneity. This is the opposite of meditative painting, but it isn't a free form of painting; there is a calculated freedom as she works over again and again certain areas, eliminating and erasing to keep only what she wants. "I'm very conscious, wary and distrustful of the seductive power of colour."
Colour, which runs, drips sometimes within the forms, often full and round, reminds us, however tentatively of her femininity. The lyrical aspect of her work is found in the series of eight works on paper. Over a lively sometimes frenzied background made with large brushstrokes dance irregular marks, calligraphic signs suggesting a certain musicality. In these same works she contains her expressionism in a frame-like structure on the edges so as to deliberately "gather" the impetuous brushstrokes within the confines of the landscape.
"My work is the fusion of the accidental and the intentional, the emotional and the cerebral. It is partly premeditated, calculated and then rendered instinctively." Lindy Foss-Quillet likes to play on the contrast between the abstraction in her work and the extreme precision of her titles, which are directly inspired from her geographical and emotional environment. One of her series narrates the journey of the No. 6 bus, which she uses often, juxtaposing the chicken blood red of Wanchai market with the green and gold of the Sikh Temple.
Her last works, four smaller canvesses (Deep Water Bay Studies) are more reflective and expressionistically inspired : there is a certain sobriety in the composition, a use of stong deep colours. It concentrates on the dense, tense landscapes.
Movement and energy inhabit this painter's work but, at times, one can also feel a deliberate confinement. Rarely do the emotivity and energy overlap and spill over the boundary deliberately created by the edges. It is as if the painter when adding the frame and by "christening" the works with a definite title wanted to protect herself from an all-enveloping expressivity.

GERARD HENRY

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