The Maison Méditerranéenne des Métiers de la Mode (MMMM) welcomes the two artists Patricia Giudicelli and Gilbert Della Noce for their exhibition « Floraison De Luminy 1980 at Marseille 2016 » from 24 June to 15 July. The exhibition is open to the general public from 9am to 6pm at the M Gallery, 19 rue Fauchier, 13002 Marseilles.
Portrait of the two artists:
Patricia Giudicelli, photographic artist: graduated from Marseilles Fine Arts School in the '80s where she met and became friends with Gilbert Della Noce. After many years as a fashion photographer with its demands and rigour, she decided to do something with more freedom whose subject is close to the research undertaken by her friend Gilbert as a painter. Their friendship and convergence of ideas produced the project for this exhibition. The M Gallery in Marseille makes an ideal bridge for this movement, this convergence of propositions and procedures, which question the real sense of the word Floraison… [flowering, blossoming, burgeoning] "What happens in Gilbert Della Noce's studio? He started off as a sculptor, but today has an exhilarating relationship with painting and drawing. He is installed with a fan paint brush on a painters scaffold, capturing a new form of freedom.
Piping, borders, weft, warp, the brush passes under and over all the hurdles his generation had put in the way of painting, a sort of theoretical lock of the things you shouldn't do.
This explains the flowers and the branches, and a vision close to these identifiable themes, even as far as the hand looking for the specificity of the fabric by agitating and considering its spiritual rather than physical fragrances. In this work our eye is drawn to the motif as if our head had been invited to approach the source of our pleasure and had been drawn closer by the force of desire.
The mountain needed to be climbed yet again: floral motifs have always been the main way for painting to conceptually, historically and fortuitously thumb its nose to the prohibitive obligations of an epoch. The motif is there and waiting to be picked. It has never ceased being part of an object, a piece of furniture, or the decoration for someone who wants to renew their singularity, an adhesion to major current virtues.
We know that between Warhol and Gasiorowski, flowers exist, become a work of art, with plasticity and an aptitude for metamorphosis. Their shapes and forms can be complex, yet mobile; but always on the fine line between the concept abstract idea and a mess of gorgeous chaos. Their greatest strength, without doubt, is that they are reputed to be prohibited and forbidden. Apparently, the decision to formally forbid them was made by persistent insistence.
If we play the game, the floral motif, as well as fruit and branches, has contaminated love scenes from Watteau to Fragonard, as if it was some sort of moral corruption against the simple intention to paint. These woven representations continue to perpetuate as if they were an alias for painting, or for the act of painting, the absolute equivalent only made pertinent by renewing the intention of the gesture.
In the current work of Gilbert Della Noce, this is what is different.
Why the distance, why hidden, are the questions raised by this work. Words which draw our eye into the intimacy of the arrangement and the paravent, the centre of a sensual experience of erotic tales and tranquil pleasures during a siesta behind closed shutters.
More than ever, this painting talks about a civilisation which welcomes with open arms the notion of desire, wherever it lies, but often somewhere between canvas and fabric, when it is not under the fresh cover of a pillow, or in the look turned towards the romantic drapes and canopy of a bed.
This is what you find in the studio of Gibert Della Noce: with all these historic references, his work is radicalised into the pure and simple acceptance of pleasure. A friendly handshake, with the strength of a sculptor's hand, puts us back on an enlightened track, somewhere between the pleasures of seeing, thinking and doing."
Michel Enrici, June 2016
For further information, the Press File is available here.