In her review of Louise Bourgeois’ exhibition at Hauser and Wirth, Los Angeles, Emily Nimptsch says “Although they were constructed at the tail end of her 98 years on this planet, the interplay of sexuality, morality, mortality seen in Louise Bourgeois: The Red Sky… these vigorous and spirited etchings crackle with youthful energy and speak heart to heart across the divide.” An excerpt is below:
“My childhood has never lost its magic, it has never lost its mystery, and it has never lost its drama.” ㅡLouise Bourgeois, 1998
Produced in the last three years of her life, the effervescent bubble and flower doodles, rudimentary abstract patterns, and scrawled, Cy Twombly-like swirls currently lining the walls of Hauser & Wirth, Los Angeles, in Louise Bourgeois: Red Sky may seem like this renowned French-American painter, sculptor, and printmaker’s innocent, joy-filled ruminations on childhood, however, a closer look reveals a world of anguish and anxiety.
These quietly heartbreaking images are likely alluding to her troubled upbringing. Bourgeois was devastated by her overbearing father’s decade-long affair with her English tutor. She famously used art-making as a form of catharsis in dealing with her animosity and insecurity surrounding this distressing chapter in her life.
Read the rest of the review at Riot Material magazine: http://www.riotmaterial.com/louise-bourgeois-the-red-sky/
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