Lisson Gallery

Christopher Le Brun: Diptychs

6 November 2019 – 29 February 2020

Christopher Le Brun: Diptychs

Christopher Le Brun

Lisson Gallery Shanghai is proud to be staging a solo show of new work by Christopher Le Brun, his first in mainland China. This also coincides with the opening of the two major Shanghai art fairs – West Bund and Art 021. Focusing on Le Brun’s recent diptychs, the display will also, fittingly, be presented in two halves, with a partial re-hang of the exhibition occurring around the middle of its three-month run.

Le Brun’s newly completed pairs of paintings respond to the act of seeing, as much as to his own actions as a painter. 
The twinned canvases – often separated by a tonal break, with one light and one dark canvas – mimic the processes of perception, thought and memory in the beholder. First, Le Brun’s binocular compositions interrogate the instantaneous coalescing of imagery that occurs as the brain merges views from two separate eyes. Unlike the experiences of theatre, music or literature, “Painting,” writes Le Brun, “is seen in an instant – suddenly.” However, by introducing a second, complementary element, these paintings can unfold over time, fluctuating between individual works, related family members, and the singular whole.

Le Brun continues: “These diptychs admit a truth of painting by seeming to withdraw the authorial voice which might be expected to impose unity.” By permitting the viewer a continuance of the moment of seeing and not just a second glance, the artist questions his own role as synthesizer or end user. The stark contrasts in a work such as Late Play (2019), for example, would suggest two entirely distinct registers – on the left a brooding dark shower of marks, on the right a radiant blur of hot red and orange. Yet the disparate sides attract one another inexorably, not just in the manner of magnetic opposing forces, but also in the subtle reflections of the red hues and vertical striations that are clearly ‘in play’.

These dualities – between depth and surface, between strong and subdued colours, between shades of darkness and light – create a back and forth or push and pull that extends to the rest of the exhibition and connects each diptych to one another, much like the Mind or a Bridge, to use two more of Le Brun’s titles (from 2018 and 2019 respectively). Further representations of Le Brun’s doubling techniques can be seen in A Word to the Page (2019) that features passages recalling both abstract gestural painting and automatic writing, perhaps mapping the artist’s left and right sides of the brain or the difference between his two hands, both of which he can use when painting – the right being his ‘doing’ hand and the left, the dominant one, being employed for ‘fine work’.

The final word goes to Le Brun himself, who describes a further harmonious pairing between the creation and the appreciation of these works: “You simultaneously concentrate and relax; you have a notion of the field, and are aware of the perimeter but ignore it, at the same time you consider the detail.”


里森画廊上海空间荣幸宣布即将呈献克里斯多夫·勒·布伦 (Christopher Le Brun) 于中国大陆的首次个展,时值恰逢上海西岸艺术与设计博览会以及Art021当代艺术博览会。



勒·布伦曾说:“这些双联作似乎抹去了创作者的固有呈现,而展露了有关绘画的本质。”通过延长观者的心路观感,而不仅是匆匆一瞥,艺术家质疑着自己的角色,是开发者还是终端用户?例如《夜间出游》(2019) 中,强烈的对比道出了截然不同的表达形式,左侧暗色交织恍若骤然急雨,右侧则是炽热红橙璀璨夺目。大相径庭的画面却不可抗拒地彼此吸引,如同磁体的异性两极,在火红烛影细细辉纹间“出游”。

这些二元性重重包缚于深浅不一、明暗交错、刚柔并济的画面中,延伸至展览的其余部分,连结着每幅双联作,例如《思绪》(2018)、《桥梁》(2019)。而勒·布伦相互映照的表达形式也在《一笔一画》(2019) 中有所体现,艺术家的双手仿佛搭起抽象表现与自动书写的桥梁,左手主导而右手执行,一笔一画,相辅相成。


We use cookies on our website to improve your experience. You can find out why by reading our privacy policy. By continuing to browse our site you agree to our use of cookies Privacy Policy