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For his first solo institutional exhibition in France at Le Consortium, and the inaugural exhibition of Freedman Fitzpatrick’s new space in Paris, Matthew Lutz-Kinoy has created a new body of paintings, inspired by a room dedicated to François Boucher at the Frick Museum in New York, which depict children performing adult tasks. Lutz-Kinoy has reproduced these images into enlarged facsimiles, enhancing the scale of the images to correspond with the architecture of the exhibition space, and by combining multiple paintings into scrolling expansive canvases that depict fantastic movement.

Lutz-Kinoy’s new paintings can be read as a scroll shaped diary, in which the development of the pictorial narrative is not read through a picture‘s depth, but through one’s eye as the viewer moves through the room, their field of vision engulfed by the expanse of the painting. In Lutz-Kinoy’s versions, the organic asymmetrical golden frames surrounding Boucher‘s paintings are re-fashioned into borders for color-fields, and the human form mutates from a depiction into an illusive frame for color that blurs, and mutates into architectural forms that structure the framing of landscapes.

For the exhibition at Freedman Fitzpatrick’s new Paris space, Lutz-Kinoy will exhibit three large portrait paintings, repeating the same formats as his works in Dijon, yet scaled to exist in the intimate environs of the gallery, by cropping the dominant decorative borders that define the paintings on-view in Dijon. The paintings on-view at Freedman Fitzpatrick, Paris, depict rococo labor and leisure, channeled through a passionate and enthralled cook preparing erotic bistro dishes for all to see.

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