In the set bodies (black&white), we can find sketches of naked bodies, using charcoal or lead.
The drawing hand follows the continual coming and going of the eyes in a gesture that alters weight and speed depending on the different grains of the skin. The point is, rather than making a photographic picture of the model, to note sensations down.
7 Ciels (7 Skies) is a series of postcards depicting the view I could contemplate from my window when I was living on the 16th floor of a high rise building of La Défense in Paris. This area was under construction at that time (1999-2000). The intense colors of the sky – due to pollution – and the lyrical quality of that urban landscape of cranes, factories, unfinished buildings, steep windswept streets, crowned by apocalyptical red-pink sunsets or enshrouded in melancholy clouds, were a source of endless fascination to me.
My friend, poet Violaine Guillerm, and I decided to collect « 7 skies » into a booklet, give titles to them, and write short texts, as you would find on the back of postcards. It remains unpublished.
Each picture is a mixed media painting – ink, soft pastels, watercolor, and collage on paper – in the size of usual postcards (A6 = 10,5cm x 14,8cm).
Album du Rêve (Album of the Dream) resulted from various digressions connected with desire, distance, solitude and passing time. I’m describing here a rather melancholy moment: when, by crumbling up your memories though expecting nothing, a dream is taking shape. The pictures’ titles give direct information about the general contents of the album: «rêve» (dream), «habitation de l’attente» (inhabiting the wait), «ô solitude!», «à propos d’amour» (about love). I should have linked «Quadriptyque de l’Oisiveté», «Diptyque-Cantique» and the triptych «Wroclaw 0808» to the Album of the Dream. I preferred isolating these three ensembles in order to better detail their genesis. The sketches that I made previously to the canvases can be found in section «work on paper» —> «exercices préparatoires au Rêve» and «solitude/distance» so as in section «poetry and music» —> «Amour».
Among the 4 pictures presented here, I only painted «habitation de l’attente» with acrylics. I used for the others oil on canvas.
La Vendée, also known as Côte de Lumière or Coast of Light, is where I regularly go on vacation. My parents live there. Whenever I visit them, I spend hours by the ocean, enjoying the same places again and again.
In 2012, I received a huge pastel box for my birthday, a treasure of 200 colors! I immediately relished delving into them to draw the light, the sea, the sky, the beach and the rocks. I soon initiated a sort of holiday ritual: one picture a week, same place, same size. The pastels stay at my parents’. They have become a basis material of this “free-time-album”. I mix them with watercolors, inks, pencils and acrylics, and frequently resort to collage in order to create tactile effects. For each picture I use 24×32 cm sheets of thick paper.
The 200x100cm format lends itself to certain panoramic and linear explorations. I gathered here two canvases whose common feature is precisely that occupation of space across the width. The first canvas depicts a promenade (stroll), or how the eye circulates through a series of touristic details. On the second canvas, I represented a mur (wall) under different aspects : there is the dividing wall that isolates, shelters or stands in the way, there is the wall that one goes through like a crucial experience of life, the wall that supports graffitis, the wall in ruins where weeds grow …
I painted both panneaux (panels) using a mix media technique with collage, acrylics and pastels.
I always carry in my handbag a small notebook with white sheets in which I have fun sketching with lead and color pencils. My models are often animals (with a predilection for birds) and sometimes landscapes. I do these exercises as a hobby, charmed by certain exotic names, and trying in a playful manner to better my traditional drawing technique. Petits dessins pour rire (small sketches for fun) are pages selected from my successive notebooks.
Born in 1975 in Evreux, France, musician and plastic artist Delphine Gauthier-Guiche played the piano before discovering her passion for the horn. While pursuing law at the Parisian University Assas, she was awarded three first prizes for chamber music, the natural horn and the modern horn from the Conservatories of St-Maur-des-Fossés, Paris and Boulogne-Billancourt. She completed her education at the Freiburger Musikhochschule (2001-2004 , Prof. B. Schneider) and at the Schola Cantorum in Basel (2008-2009 Prof. Th. Müller). In Germany, Delphine Gauthier-Guiche specialized in repertory music from the XXth and XXIst centuries and became a regular member of the Ensemble Aventure (www.ensemble-aventure.de ). For the past 15 years, she has been based in Freiburg where her freelance work has been firmly oriented in musical performance. During this period, she has primarily toured Europe as a chamber musician and a soloist; but at times she has also performed with the orchestra.
In addition to her musical activities, she has spent many years devoted to research in the visual arts. Contact with other artists has cross- pollinated her artistic endeavours. Stemming from a deep knowledge of music, her approach lays a foundation that bridges art and experience. Even though DGG ‘s musical interpretation takes the theatrics of the concert and an analysis of the music language as her departure point, she often makes a detour through painting where her perception of musical form and structure underlies her pictorial work. Finally, daily practice of French, German, English and Spanish has deepened her literary sensibilities, integrating translation exercise into musical arrangement and leading her to illustrate poems as she were scoring them to music. Thus emerges a convergence across a platform of musical and artistic expression that has largely defined her work.
Zachary Seely "My interest as a musician in DGG's art" read here
My interest as a musician is in how DGG’s art deals with the realm of time and identity. Each painting unfolds layers of compressed experiences, which are both intense and personal. For me, the artist is present in the materials. The compositions and techniques reveal the processes of both the art-making and in the artist’s development of self-awareness. It is easy to imagine her handling each piece with great care, while reacting to her own choices as the work evolves and informs her next decision. Her studio is transformed into a concert performance, where each musical gesture undergoes changes in pressure and amplitude, responding in real time to an inner chamber ensemble through her signification of shape and color. Her thoughts and feelings about life collide and disperse throughout her creative processes at different speeds in multi-dimensional directions. She combines the raw and mysterious through her honesty, control, and genuine imagination.
This inward journey is both solitary and communal. The confrontations in her life and art reflect one another through her choices of density. Her paintings include long periods of silence and tiny creaky noises in the detailed, imprecise boundaries of distorted shapes. The harmonies in her paintings span the entire register of human perception and put into question all the known sounds of the universe. Her willingness to explore these often dark and broken paths is admirable. Her portrayals of these experiences move through time, though partially hidden in collages of dissonant societies both ancient and contemporary. Her struggle becomes musical and vibrates timelessly to the reverberation of all human experience. Each work is a snapshot of human collision: a clash with nature, a search for one’s note in the harmony of life, youthful curiosity, and, though these works are non-linear, even conflicted eroticism.
As we move forward through today and tomorrow, her paintings will continue to resonate beyond time.