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1983
Aurelie Nemours
Aurelie Nemours threw herself into pictorial abstraction, banning physical time and space. Her work subjects the supremacy of elementary, neutral shapes to a rigorous construction. The final organization of the artwork is based on intuitive systems and follows a grill or a series and comes from a natural inspiration.
Aurelie Nemours
France
Born in 1910
Aurelie Nemours turned to abstract art in 1949. From then on she investigated the effect of lines and their relationship with coloured surfaces, angles, corners, geometric shapes, horizontal and vertical forms, all of which she considered to be archetypes.
Before beginning, she takes measurements, and makes sketches and drawings. Only then does she begin to produce the work, in black and white or in colour. Colour for Nemours is "pure energy".
She works in series. These include : the Demeurs, pastels (1953-1959); then oil paint on canvas as in Les Pierres Angulaires (1956-1960), Au Commencement (1959-1962), Le Rythme du Millimètre, for which she begins with nature to create a grid (1972-1980), Les Structures du Silence in square format and the relationship between geometric shapes painted in black and white (1983-1990) and finally, from 1992, N+H (Nombre et Hasard, or Number and Fate) in which random combinations disturb calculations.
Before beginning, she takes measurements, and makes sketches and drawings. Only then does she begin to produce the work, in black and white or in colour. Colour for Nemours is "pure energy".
She works in series. These include : the Demeurs, pastels (1953-1959); then oil paint on canvas as in Les Pierres Angulaires (1956-1960), Au Commencement (1959-1962), Le Rythme du Millimètre, for which she begins with nature to create a grid (1972-1980), Les Structures du Silence in square format and the relationship between geometric shapes painted in black and white (1983-1990) and finally, from 1992, N+H (Nombre et Hasard, or Number and Fate) in which random combinations disturb calculations.
Artworks of
Aurelie Nemours
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