Inner Life, Shaping Worlds
塔玛丽·伯瑞利：绮梦之境
2023.02.18 - 2023.04.08
Bldg 105, 199 Hengshan Rd. Shanghai杜梦堂(上海)开年新展荣幸呈现法国艺术家塔玛丽·伯瑞利(Tamaris BORRELLY)的个展“绮梦之境”。作为这位毕业于巴黎美院的欧洲新秀在国内的首次个展，此次展览共计展出20件艺术家最新的水彩创作，其中包括多件大尺幅作品，全面呈现伯瑞利融合了抒情与诗意、以梦境和景观构建的宏大生命图景。
一沙一世界，
一花一天堂。
无限掌中置，
刹那成永恒。
[英]威廉·布莱克，《天真的预言》节选
徐志摩 译
Tamaris BORRELLY | 塔玛丽·伯瑞利 (b.1987)
Pilgrim | 朝圣
2022
Watercolor on kozo paper
楮纸上水彩
210 x 150 cm
DUMONTEIL is pleased to open its new year with Inner Life, Shaping Worlds, the solo exhibition of the French artist Tamaris BORRELLY. This is the first solo exhibition in China by this emerging European artist, a graduate of the Beaux-Arts de Paris. The exhibition features 20 latest watercolor creations by the artist, including several large-format works, showcasing how the artist transcends all forms of life and weaves them into an other-worldly dreamscape.
To see a World in a Grain of Sand
And a Heaven in a Wild FlowerHold Infinity in the palm of your handAnd Eternity in an hour
—— Auguries of Innocence, William Blake
Tamaris BORRELLY | 塔玛丽·伯瑞利 (b.1987)
Landscapes Bodies | 景观与人体
2022
Diptych; watercolor on kozo paper
双联幅；楮纸上水彩
210 x 150 cm x 2
当你徜徉于塔玛丽·伯瑞利精心构筑的水彩世界，游走于无数生物群落之间，很快就会想起威廉·布莱克（William Blake）《天真的预言 Auguries of Innocence》开头的这些名句。伯瑞利所选择的载体“纸本”，作为艺术表达的媒介从来都不是丰碑式的，压倒性的，亦或是悬空或笼罩式的；但伯瑞利的作品无疑是广大的，足以让人沉浸其中，满怀欣喜地迷失在这繁花群像之中。
These lines, the first of William Blake's "Auguries of Innocence", soon come to mind as one delves into the myriad of creatures that populate the carefully collected sheets implemented by Tamaris Borrelly. For paper, her chosen formats never appear monumental – not overpowering, nor overhanging. Still, they are vast, we immerse ourselves in them to the point of loss, with delight.
Tamaris BORRELLY | 塔玛丽·伯瑞利 (b.1987)
Pour | 涌流
2022
Watercolor on gampi paper
甘比纸上水彩
66 x 56 cm
伯瑞利如同创作细密画一般倾注着自己的精力：画面充满了大量的细节和图案，画法细致而风格化、繁复而多样；，这些“生态保护区”如同在紧密的织物中形成呼吸，同时保留着完整的动感和通透。
能量循环其中，这些人物仿佛通过律动的线条——以亲属关系、毗连、覆盖，甚至传播性或多孔性等方式——相互关联。流动性占据了主导地位，让目光不断地移动，由此及彼（在纸张的空间里随着星罗密布的沟壑不断起伏、延伸），从一个平面到另一个平面（感受这些厚度可忽略不计的纸张被水彩浸润，时而被拉伸，时而泛着波纹和褶皱），从一种明暗到另一种明暗（在其自身的时间性中，从白天到黑夜）。
Tamaris BORRELLY | 塔玛丽·伯瑞利 (b.1987)
The Living Beings | 生命体
2022
Watercolor on kozo paper
楮纸上水彩
150 x 210 cm
She invests them as a miniaturist: with details and patterns galore, a mixture of precision and stylization, of repetition and variety; with game reserves forming breaths in a tight fabric, while remaining complete with movements and transparencies. Energy is circulating, as if the figures are interlinked through lines and leaps; by kinship, contiguity, covering, even propagation or porosity. Fluidity dominates and the gaze passes, continuously, from one place to another (in the space of the sheet which extends as it fills with a multitude of furrows), from one plane to another (in the infinitesimal thickness of the paper; as it becomes impregnated, sometimes stretches, sometimes undulates or wrinkles), from one luminosity to another (from day to night, in its own temporality).
Tamaris BORRELLY | 塔玛丽·伯瑞利 (b.1987)
Forest | 森林
2022
Watercolor on kozo paper
楮纸上水彩
150 x 210 cm
寥寥数平尺间绽放出一片勃勃生机的“森林”，和亨利-马蒂斯（Henri Matisse）的许多画作一样，伯瑞利的作品也蕴含着一种向心力，正如列奥·施坦伯格（Leo Steinberg）对《生之喜悦 Le bonheur de vivre》的分析，“这使它们在记忆中总是比画面本身更充实”。或许通过这种方式，人们能够感受到“初始的圆满”——那种存在于黄金时代或伊甸园中的典型。画面中的每个人物都以自己独特的方式为此做出贡献：人类和动物在其间共存，没有等级之分；他们由各种图案组合而成，又各自组合成新的图案——无论是以剪影的形式出现、直接描画在植被上，还是通过类比的方式存在于景观之中（例如，《火山》中的主体火山也是人物的头部肖像）。
Tamaris BORRELLY | 塔玛丽·伯瑞利 (b.1987)
Inside the Cells | 火山
2022
Watercolor on paper
纸上水彩
76 x 128 cm
A few square centimeters blossom into a “Forest” of early days, just as many of Henri Matisse's paintings are imprinted with a centripetal force which, as Leo Steinberg analyzes about “Le bonheur de vivre”, makes them, in memory, always fuller than they are.This is perhaps how one achieves this feeling of immemorial fullness, typical of evocations of the Golden Age or the Garden of Eden. The figures each contribute to this in their own singular way: within them, the human and the animal coexist; with no hierarchy or they result from the agglomeration of a variety of motifs; whether they appear in the form of silhouettes, traced directly on the vegetation or can be seen in the landscape thanks to analogies (a mountain that is also a head in “Volcano”). Tamaris BORRELLY | 塔玛丽·伯瑞利 (b.1987)
Forest | 森林
2022
Watercolor on kozo paper
楮纸上水彩
150 x 210 cm
在这里，没有任何事物的属性是固定的，一切都处于有序地循环之中，就像泛灵论支持者所期望的那样，又好比保罗·西涅克（Paul Signac）的《和谐时光 Au temps d’harmonie》，打破了众生、王国和文化的藩篱，超越了现实和梦想的边界。这是因为一切都被混合、巧置在这些五彩斑斓的广袤土地上，使这些装饰性与象征性并存的元素紧密栖居：丰富的植被让人联想起中世纪代表圣母的“封闭花园（hortus conclusus）”；而这种空间的编织方式则唤起了工艺美术运动（The Arts & Crafts Movement）中那些极具生命力的图案与符号，以及千朵繁花（Millefleurs）风格的挂毯，其中的植物和动物，亦真亦幻。
Tamaris BORRELLY | 塔玛丽·伯瑞利 (b.1987)
Inside the Cells | 细胞内景
2022
Watercolor on paper
纸上水彩
76 x 128 cm
Nothing here seems fixed in place and circulation is in order, as in animist cults, like “Au Temps d’harmonie” painted by Paul Signac, before the separations and borders between beings, kingdoms and cultures, beyond sharing between reality and dreams also. This is because everything mixes or fits in these vast and colorful expanses, intensely populated by elements that are just as much ornamental as symbolic: the rife vegetation evokes the Paradise of “Hortus conclusus (enclosed gardens)” where the Virgin was represented during the Middle Ages; in addition to the wallpapers of Arts & Crafts and the manner in which space is woven, it reminds us of the Millefleurs style in tapestries, their plant seedlings, and their animals, real or fantastic.
Tamaris BORRELLY | 塔玛丽·伯瑞利 (b.1987)
Organisms | 有机体
2022
Watercolor on paper
纸上水彩
74 x 140 cm
在这些空间的深处，有一种想象力滋养着一切，如同色彩和光线一般，没有边际和限制，闪现着无数种可能性。对塔玛丽·伯瑞利而言，若要在一页纸上放下整个世界，通过重构来让它远离危险，所能做的就是画出无限。At the root of such spaces; there is an imagination nourished by everything, which like color or light, has no dimensions therefore no limits, where boundless possibilites arise, as if holding the world in a page, to reform it far from menacing dangers, by exhibiting nothing less than an image of infinity.Text by Guitemie Maldonado
Inner Life, Shaping Worlds
塔玛丽·伯瑞利：绮梦之境
2023.02.18 - 2023.04.08
Bldg 105, 199 Hengshan Rd. Shanghai
杜梦堂(上海)此次塔玛丽·伯瑞利个展「绮梦之境」的开幕酒会定于2月16日(周四)下午5时至晚间8时举办。欢迎大家关注这次展览。The opening reception of Tamaris Borrelly's solo exhibition Inner Life, Shaping Worlds at DUMONTEIL Shanghai is scheduled for Thursday, February 16th from 5 pm to 8 pm. You are more than welcome to visit this exhibition.
塔玛丽·伯瑞利(Tamaris Borrelly，1987年生于巴黎)是一位以绘画、动画和装置为创作媒介的法国艺术家，现工作生活于巴黎。她毕业于巴黎国立高等美术学院(École nationale supérieure des Beaux-Arts)，期间曾在纽约视觉艺术学院进一步学习二维动画影像制作。伯瑞利的个展项目包括：“绮梦之境”，杜梦堂，上海(2023)；艺术家同名个展，Le Pavillon学院，庞坦，法国(2022)；“Enchevêtrements”，巴黎，法国(2021)等。2020年，艺术家为舞蹈家Clémentine Vanlerberghe的作品《Gratia Lacrimarum》创作了场景设计和视频制作。2013年，伯瑞利曾在亚洲各地旅行，期间参与了在孟买的艺术家驻留项目(WAA Residency Mumbai)，还学习了陶土的制作，尝试将其绘画转化为三维作品。她曾参与由佩诺内策展、在拉图雷特修道院展出的驻地展览“沉默”(Silence, 2012)。Tamaris Borrelly (b.1987) is a French artist who mainly works with drawing, animation, and installation. She graduated from the École nationale supérieure des Beaux-Arts and furthered her study of 2D animated videos at the School of Visual Art in New York. Now she lives and works in Paris.Borrelly’s work has been the solo subject of exhibitions in art institutions and galleries such as DUMONTEIL Shanghai (2023), Le Pavillon, Patin, France (2022), Galerie du Haut-Pavé, Paris, France (2021), etc. In 2020, she created the set design and videos for dancer-choreographer Clémentine Vanlerberghe's creation, Gratia Lacrimarum. Borrelly traveled in Asia and stayed in India for several months, during which she participated in the WAA Residency Mumbai (2016) and experimented with terracotta as a way to mold forms from her drawing into three-dimensional works. Borrelly also participated in “Silence”, a residency exhibition (2012) curated by Penone at the Convent of La Tourette by Le Corbusier.
Tamaris BORRELLY参展西岸博览会「视角」单元
塔玛丽·伯瑞利 Tamaris Borrelly参展“仲夏夜之梦”