{"id":9170,"date":"2019-06-19T01:40:05","date_gmt":"2019-06-18T17:40:05","guid":{"rendered":"https:\/\/ginhuanggallery.com\/2019\/06\/19\/july-ancel-2"},"modified":"2024-08-03T01:20:02","modified_gmt":"2024-08-02T17:20:02","slug":"july-ancel","status":"publish","type":"post","link":"https:\/\/ginhuanggallery.com\/en\/july-ancel","title":{"rendered":"July Ancel"},"content":{"rendered":"
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July Ancel<\/p>\n

b. 1984 France<\/span> <\/p>\n

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July born in Nice in 1984, graduated with <\/span>Higher diploma in plastic arts of Beaux-Arts de Paris.<\/span> <\/span><\/font> <\/p>\n

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July Ancel invites the viewer to take part in a slow but incessant dance. The material she works with is movement. It\u00a0is conveyed by and constructed with color : reds, greens and blues. It is their interplay, variations, and\u00a0superpositions that create the sensation of being transported by the displacements and vortexes. And their lines bring\u00a0them to the surface of the canvas. They can be very light, and broken like threads that escape from us and which we\u00a0subsequently grasp. We follow their paths. <\/font><\/span> <\/p>\n

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July born in Nice in 1984, graduated with <\/span>Higher diploma in plastic arts of Beaux-Arts de Paris.<\/span><\/font> <\/p>\n

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July Ancel narrate by Olivier Kaeppelin (Famous French curator)<\/span><\/span> <\/p>\n

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Une Sarabande<\/i><\/span><\/font> <\/p>\n

July Ancel invites the viewer to take part in a slow but incessant dance. The material she works with is movement. It <\/span>is conveyed by and constructed with color : reds, greens and blues. It is their interplay, variations, and <\/span>superpositions that create the sensation of being transported by the displacements and vortexes. And their lines bring <\/span>them to the surface of the canvas. They can be very light, and broken like threads that escape from us and which we <\/span>subsequently grasp. We follow their paths. They form a geography whose meaning is expressed by pleasure, <\/span>uncertainty, and wandering lines. It is her large drawings dominated by the colour blue that\u2013through their lines and <\/span>the technique of rubbing, erasing, interruption, and resumption\u2013 form amazing erased and dynamic areas. These <\/span>areas are those of an artist who chooses to draw on her experience and express the joy of following \u2018paths that lead <\/span>nowhere\u2019.<\/span>They give viewers a chance to immerse themselves in a world characterised by emotion.<\/span><\/font> <\/p>\n

July Ancel is seeking this dynamism as it enables the emergence and existence of indefinable pure movement or, on <\/span><\/font>the contrary, bodies that have an \u2018animal\u2019 quality, embraces seeking effusion, and figures of giants and monster-<\/span>gods. The viewer\u2019s perception <\/span><\/font>changes scale. The scale of the heads, ovals that\u2013as in Giorgio De Chirico\u2019s work\u2013, are suspended over the landscape <\/span>until they merge with symbols resembling insects, lost in the midst of a people composed of lines, and creatures that <\/span>resemble those of Roberto Matta, which, via their variations, bring the entire surface to life with continuous <\/span>pulsations. Is this question of scale purely pictorial, solely a question of substance and movement, or, on the <\/span>contrary, does it call forth apparitions, associations, and memory images, which, by establishing dialogues, reconnect <\/span>with \u2018sky landscapes\u2019, horizon lines, and the shifting lines of abysses and summits? July Ancel\u2019s paintings capture <\/span>the interlacing and interlocking of the living world, obtained via the use of many ingredients and technical skills <\/span>(casein, oil, pigments, and inks) that form the basis of the painter\u2019s work. She never paints objects or the reality of <\/span>the world, but rather the \u2018pulsations\u2019 that make them sources of energy.<\/span><\/font> <\/p>\n

She defines the viewer\u2019s presence and metamorphoses. It is not due to the power of substance alone. Paradoxically, <\/span><\/font>the latter could be an obstacle to the principle of vitality she is seeking. Like Bram Van Velde, she attempts to <\/span>traverse the plane before her. This attempt is always threatened by failure if the painting\u2019s construction overrides the <\/span>painting\u2019s poetry. July Ancel shares this approach to painting: the \u2018real\u2019 ever stimulated by the virtual. Its forms and <\/span>spaces are never motionless thanks to the lines that bring them to life or outline them, but thanks to the transparency <\/span>that connects them with one another. The range of colours she has been using over recent years has become lighter, <\/span>like that of Ferdinand H\u00f6dler and Fabrice Hyber, and this brings the background into the foreground. These planes <\/span>merge thanks to a very subtle use of light, which accentuates the clear presence of a playful and joyous cosmos, in <\/span>which potential narratives intrigue the viewer\u2013figures inspired by Latin-American, Asian, and Greek cultures. They <\/span>represent so many \u2018doors\u2019 that embrace ambivalent and diaphanous fantasies, as in the work of the artist Dado. In <\/span>July Ancel\u2019s oeuvre a veil is placed over an image and over another, and these are even more present than the forms <\/span>they invite the viewer to discern.<\/span><\/font> <\/p>\n

It is the basis for their identity and nature.They are created through a combination of pictorial <\/span><\/font>layers, membranes, and successive screens that never quite reveal everything, to prompt the viewer \u2019s curiosity. They <\/span>invite the viewer \u2019s eye to roam like a scout who, through sensations, sees the space being constantly modified. It is <\/span>never enclosed but rather reaches out beyond the picture, as might an overflowing spring. Through her use of colour, <\/span>composition, and the imaginary power of her drawings, July Ancel\u2019s painting challenges the world\u2019s opacity and is <\/span>reminiscent of Philippe Jaccottet\u2019s notebooks \u2018(…) One moment of complete forgetting and all the screens, one <\/span>behind the other, become transparent so that you can perceive clarity to its very depths, as far as the eye can see; and <\/span>at the same time everything becomes weightless. Thus does the soul truly become a bird. <\/span><\/font> <\/p>\n

– Olivier Kaeppelin<\/font><\/span> <\/p>\n


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  • Born in Nice, France in 1984.<\/span> <\/span> <\/span> <\/font> <\/li>\n

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    • <\/span> Live and work presently in Paris.<\/span><\/font> <\/li>\n<\/ul>\n

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      • <\/span> 2010 Higher diploma in plastic arts of Beaux-Arts de Paris<\/span> <\/span> <\/span> <\/font> <\/li>\n

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        • <\/span> 2010 graduated from \u00e9cole nationale des beaux-arts de Paris<\/span><\/font> <\/span> <\/li>\n<\/ul>\n

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          Solo Exhibitions<\/b><\/p>\n

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          • 2019 On the way, Philippe Staib gallery, Shanghai, China<\/font><\/span> <\/li>\n
          • 2018 La Subasta, Casa Belin, San Rafael, Mexique<\/font><\/span><\/li>\n
          • 2017 Mythologies, Philippe Staib gallery, Shanghai, China<\/font><\/span><\/li>\n
          • 2016 KhaoYai, Sofia gallery, Taipei, Taiwan<\/font><\/span><\/li>\n
          • 2015 Azur et cendres, Philippe Staib gallery, Shanghai, China<\/font><\/span><\/li>\n
          • 2014 34 parall\u00e8le, Dragon Hotel, Hangzhou, China<\/font><\/span><\/li>\n
          • \ufeff2013 Une Hirondelle ne fait pas le printemps, Yishu8, Beijing, China<\/font><\/span><\/li>\n
          • 2012 Hercule, Galerie Premier Regard, Paris, France<\/font><\/span><\/li>\n

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            Group Exhibitions<\/font><\/b><\/p>\n

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            • 2023 ART TAIPEI<\/font><\/span><\/li>\n
            • 2021 Nature borders (curated by Christophe Delavault), Maison-atelier d’Andr\u00e9 Lur\u00e7at, Sceaux, France
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            • 2021\u00a0 <\/span>Estivales de Sceaux (curated by Christophe Delavault), Sceaux, France<\/span><\/font><\/li>\n
            • 2020\u00a0<\/span>Caresser les murs (curated by Christophe Delavault), Courbevoie, France<\/span><\/font><\/li>\n
            • 2019\u00a0<\/span>I am not nostaljik, you are nostalgic (curated by Fiona Vilmer), Istanbul, Turkey<\/span><\/font><\/li>\n
            • 2017\u00a0<\/span>Choses confidentielles, Swatch Art Peace Hotel, Shanghai, China<\/span><\/font><\/li>\n
            • 2016\u00a0<\/span>Les 15 ans de Premier Regard (curated by Marc Donnadieu), Paris, France<\/span><\/font><\/li>\n
            • 2014\u00a0<\/span>Le the & le vin – Galerie des Galeries (curated by Jean-Paul Desroches), Paris, France<\/span><\/font><\/li>\n
            • \ufeff2011 15 Prix Antoine Marin, Galerie Julio Gonzalez, Arcueil, France<\/font><\/span><\/li>\n
            • 2011 Les 10 ans de Premier Regard, Bastille Center Design, Paris, France<\/font><\/span><\/li>\n<\/ul>\n
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                \u00a0 Awards<\/b><\/span><\/font><\/p>\n

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                • 2024 Villa Swagatam, Lucknow, India\u00a0<\/font><\/span>
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                • 2019\u00a0<\/span>Piston Residency, Istanbul, Turkey<\/span><\/font><\/li>\n
                • 2018\u00a0<\/span>Fondation Proal, Veracruz, Mexico<\/font><\/li>\n
                • 2017\u00a0<\/span>Swatch Art Residency, Shanghai, China<\/font><\/li>\n
                • 2015\u00a0<\/span>Dragon Residency, Hangzhou, China<\/font><\/li>\n
                • 2013\u00a0<\/span>Prix Yishu8, Beijing, China<\/font><\/li>\n
                • 2011\u00a0<\/span>Bourse de recherche Casa de Vel\u00e1zquez, Madrid, Spain<\/font><\/li>\n
                • 2011 Prix Antoine Marin, Arcueil, France<\/span><\/font><\/li>\n<\/ul>\n
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                    Each creation of July is done whith each painting consisting of several different superposed paintings. She does not cover at each layer the all the surface to do another one over it: she keeps one part of each of the previous ones.<\/p>\n","protected":false},"author":4,"featured_media":8275,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[444],"tags":[452],"class_list":["post-9170","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-artists","tag-july-ancel"],"acf":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/ginhuanggallery.com\/wp-content\/uploads\/migra\/blog\/fff48f7427a4da4d3c809281a87c84ee4bcc5294.jpg?fit=871%2C1200&quality=100&ct=20250818&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/ginhuanggallery.com\/en\/wp-json\/wp\/v2\/posts\/9170","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ginhuanggallery.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ginhuanggallery.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ginhuanggallery.com\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/ginhuanggallery.com\/en\/wp-json\/wp\/v2\/comments?post=9170"}],"version-history":[{"count":0,"href":"https:\/\/ginhuanggallery.com\/en\/wp-json\/wp\/v2\/posts\/9170\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ginhuanggallery.com\/en\/wp-json\/wp\/v2\/media\/8275"}],"wp:attachment":[{"href":"https:\/\/ginhuanggallery.com\/en\/wp-json\/wp\/v2\/media?parent=9170"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ginhuanggallery.com\/en\/wp-json\/wp\/v2\/categories?post=9170"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ginhuanggallery.com\/en\/wp-json\/wp\/v2\/tags?post=9170"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}