“I do not see colors or shapes as in "pure" synesthesia but I'm searching the palette colors that give me the same emotion that a musical note or piece. The structure of the musical composition play an important role in the composition of the painting on the canvas. I discover the music, I listen to it in a different way, and its world seems huge, inescapable, and abstract. If the risk is one of a chaos, sensory or intellectual, and If the answers are in the relationships between colors, shapes, sounds and harmonies, then a pictorial vocabulary of music imposes itself.” Gabrielle Thierry
The artist paint the music of :
The convergence of the arts is at the origin of Gabrielle's work with the representation of music and the creation of a true pictorial vocabulary. Abstraction reveals the music of the landscape and nature.
The music offers the composition of the landscape. The colors and the space of the landscape evoke this music. The one is intertwined in the other, music and landscape are in fine inseparable.
Gabrielle paints the music of the landscapes that inspire her : Paris, the Seine nearby her studio, the almond tree of her garden, a parc, a forest, the wild cost of Belle-Ile in Brittany, the Alpes near La Meige, Venice, or the small village of Monterubbiano, in Italy, etc..
Gabrielle tries to understand how music invades musicians, how it animates their inner reality. When several musicians propose to play together, they will try to create a unique and harmonious space, each with their own musical personality, range of color and form, experience and expectations. The quartet represents this complex of common vibration, the reflection of the depths and lightness of each. The music, temporal in itself, creates the space. The painting becomes this space.
This large format painting represents a conductor and her orchestra playing Beethoven's 7th. Symphony. The music invades little by little the whole concert hall, the music becomes a colored space in movement.
This painting was inspired during the making of the film "Divertimento" directed by Marie Castille Mention-Schaar.
From one inspiration to another, Prof. MM Münch discovers this Cheffe in Gabrielle's studio and decided to write an article in his Revue Internationale d'art et d'artologie.
Monet's Magpie sings through the shimmering snow under the orange sky. Have we never heard it before? The landscape gradually becomes a score. Each element of the landscape painted by Monet, enters in resonance, vibrates of its diaphanous colors. The magpie orchestrates his sensitive world. The landscape disappears to let see only the prelude of Scriabin, each note colored.
Listen on our video
"Have you ever seen in a dream, above the floor of cows, business and wars, a sky of azure? An azure sky where some cosmic energy would have gathered for you alone all the elements of the world-painting, first the colors, then the straight lines and curves, the contrasts and combinations, then the forms, the dialogues, the thoughts and finally the solutions and answers to the eternal questions? If so, you are ready to meet "Vol d'Oiseaux" (Flight of Birds)
Colored score of "La Valse" composed by Maurice Ravel
Oil on canvas, 300x100cm, 2013
"Ravel. It's a masterpiece,
but it's not a ballet.
It's a painting of a ballet."
Diaghilev about La Valse , 1920
Interfaces Open Edition
Cinema, The painting forming "paravant" is part of the scenography of the film Divertimento (here with Neils Arestrup), with 2 other paintings (variations around the Water lilies "Soleil Couchant") and "Garden after the rain". Trailer
"Opera", Oil on Canvas, Polyptych, 180x150 cm
Quartet with piano, Oil on canvas, 130x162 cm , 2016
Music : Piano Quartet Op.47 III : Andante Cantabile by R.Schumann
"The most important thing about playing the piano is the symphonic element. Music can only be interesting if the different threads of the polyphonic texture are played distinctly enough to be heard together and create a three-dimensional effect - just as in painting, where one thing is placed in the foreground and another in the background, so that one appears closer to the viewer than the other, then the painting is flat and two-dimensional,"
Daniel Barenboim in "Music Awakens Time," 2014
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