Stéphane Couturier, Laura González Cabrera, Dannielle Tegeder

Computed Gesture

Apr 24 - Jun 8, 2024

Gesto Computado (Computed gesture) is an exhibition project by Max Estrella Gallery featuring works by the artists Laura González Cabrera, Stephane Couturier and Dannielle Tegeder. This collective exhibition explores the convergence between calculated and automatic gestures in the creative process. Inspired by the precision of geometry and engineering, as well as the spontaneity or automatism inherent in artistic expression, the works included in this exhibition reflect a nuanced interplay between these dualities.

Highly influenced by engineering, architecture, and the transportation and pipeline systems of contemporary cities, Dannielle Tegeder’s work interacts with the debates created between abstraction and utopian thought. In her drawings and paintings, she creates fictitious landscapes that sometimes resemble construction plans, intertwining abstraction, modernism, and architecture. Her creative process begins in a planned and precise manner, but through abstraction, the work becomes increasingly fragmented, contradictory, and irrational, introducing a certain arbitrariness and spontaneity.

Laura González Cabrera’s art reflects a profound interest in geometry and mathematical concepts. Her gesture, which is contained, restricts and moderates itself in each brushstroke. The painter explores the expressive possibilities of painting, using languages such as encrypted systems based on mathematical and binary codes, configuring a pictorial response to the mass production and consumption of the flow of images and texts. In this computed and orderly gesture in reticular structures where color, stroke, and letter invite the viewer to scrutinize the surfaces in search of meaning. Her entire process is predetermined through rules of numerical, chromatic, and geometric transformation and materializes through a procedure that rigorously adheres to protocols proximate to those of a ritual. In it, she connects the visible with the invisible, that is, the written word with the experience it evokes, a connection that translates into symbolic illegibility.

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The city, industry, and built landscapes are the favorite subjects of Stéphane Couturier. This dual aspect, the inseparable documentary research from the artistic pursuit, characterizes his entire photographic work. Couturier experiments with hybrid images, where two shots are juxtaposed in the same photograph. The latest developments of these investigations lead him to discover Eileen Gray’s villa E-1027 in the south of France and its subsequent pictorial intervention by the architect and painter Le Corbusier through several murals painted between 1938 and 1939. Couturier’s photographic work aims to echo the search for a synthesis of the arts between the forms of painting and those of architecture, with photographic collages in which the architect’s pictorial gesture is merged with the designer’s iconic construction. The resulting duality allows for a complexification of appearances, overlaying layers of realities to express this new reality of the world and things: movement, instability, the ephemeral, between document and fiction. Also, in his series on the city of Sète, he creates photographic collages, in this case by juxtaposing two points of view in the same photograph. The process resembles a kind of retinal persistence, in which photographic fragments intermingle. The photographic duality establishes a back-and-forth between different sensations, a testimony of fluidity. This approach allows for preserving all the sensory data of a single place, without organizing or prioritizing them.