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Carmen Perrin

* 9.1.1953 La Paz, lives and works in Geneva and France http://carmenperrin.com/

  • ACIDES
  • Aquatint / etching
  • Edition of: 24
  • Size: 56,00 cm x 72,00 cm
  • Production: Atelier Genevois de Gravure Contemporaine
  • CHF 680.00
  • available
  • Inquiry

Whether in public space or in her abstract compositions, Carmen Perrin has shaped the Swiss and French-speaking art scene with her practice of subtracting matter. Holes that are carefully drilled or removed from the support show colours, light or - as in this case - letters. The word, which appears on the sheet in successive shades, refers semantically to that very principle of subtraction or erasure. While since the 1960s the word "acid" has often been associated with the substance invented by Albert Hofmann, which is known to open the gates of perception, the acid remains primarily a corrosive liquid. It is used in the etching process and is of fundamental importance for the realisation of aquatints. The copper plates are immersed in an acid bath so that the aggressive substance marks the areas that are to appear on the paper. As in Carmen Perrin's great compositions, the motif is revealed by the erasure of the matter.
The progressive gradation of the letters in the word "acides", from a very light "A" to a very dark "S", is a technical masterpiece. The copper plate carrying the print had to be dipped in acid dozens of times, sometimes extremely briefly. As if to escape a form of eternal becoming, the letters were gradually covered with a varnish that protects against the aggression of the liquid. The work then becomes almost tautological. Similar to Joseph Kosuth's conceptual installation One and Three Chairs or his famous tautology "Art is the definition of art", the word ACIDES is here represented by acid.
In her sculptural works as well as in her in-situ installations and interventions in public space, Carmen Perrin uses everyday materials, both industrial and organic. The artist deals with our perception of volume, playing with tension, contrasts and emptiness. Textual elements occasionally highlight the conceptual aspect of her artistic approach and her research on gesture and texture.

Carmen Perrin graduated from the École supérieure des Arts Visuels (ESAV) in Geneva in 1980, and her work has recently been shown in major solo exhibitions, including this year at the Kunsthaus Grenchen (2019). Her works are in various collections, including the Musée d'art et d'histoire in Geneva, the Aargauer Kunsthaus in Aarau, the Joan Miró Foundation in Barcelona and the Centre Pompidou in Paris.



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