Christian Kiopini

Ombre #4 « Maurice », 1983-1984

© Christian Kiopini • Photo: Richard-Max Tremblay

Christian Kiopini, Ombre #4 « Maurice », © Christian Kiopini • Photo: Richard-Max Tremblay

© Christian Kiopini • Photo: Richard-Max Tremblay

Christian Kiopini, Ombre #4 « Maurice », © Christian Kiopini • Photo: Richard-Max Tremblay

© Christian Kiopini • Photo: Richard-Max Tremblay

Christian Kiopini, Ombre #4 « Maurice », © Christian Kiopini • Photo: Richard-Max Tremblay
Artist
Christian Kiopini
Title
Ombre #4 « Maurice »
Dimensions and medium
Acrylic on plywood, 244 × 244 × 244 cm
Origin
Gift of the artist
Artwork description
With its horizontal and vertical projections that are free of any expressive mark-making, Ombre #4 « Maurice » is a large gray monochrome that synthesizes Christian Kiopini’s meditative production in which he attempts to define pictorial space. This piece is part of a cycle of work conceived in the 1980s, wherein Kiopini would construct a mise en scène based on the fundamental elements of painting. Ombre #4 « Maurice » demonstrates the artist’s formal concerns through its monumental size and monochromatic style. The thin lines that cover the work’s surface evoke a hard-edge effect, while the paint’s flat application resists the non-essential characteristics of the mark. Together, these aspects incite viewers to reflect on the history and the very essence of painting. Through its cut, irregular and angled contours, the work forms a volumetric space around which viewers must navigate, reinforcing the essential role they play in constructing the meaning behind the work.

See Also

Les Tables de sable III (haute, rouge, rompue), 1995, Plywood, wood, acrylic, lacquer, varnish, sand, and 4 silver prints, 1/1.
Jocelyne Alloucherie, Les Tables de sable III (haute, rouge, rompue), 1995 Les Tables de sable III (haute, rouge, rompue), 1995, Plywood, wood, acrylic, lacquer, varnish, sand, and 4 silver prints, 1/1.
Générique, 2001, Computers and software, projector, amplifier and loudspeakers, and video surveillance camera, 1/2.
Alexandre Castonguay, Générique, 2001 Générique, 2001, Computers and software, projector, amplifier and loudspeakers, and video surveillance camera, 1/2.
La Nativité, 1995, Waxed plaster, wood, wax, and cow hide.
Gilles Mihalcean, La Nativité, 1995 La Nativité, 1995, Waxed plaster, wood, wax, and cow hide.
detail of Fatigues, 2014, Mounted animals, 3 elements (White-tailed deer, American red fox, North American porcupine).
Abbas Akhavan, Fatigues, 2014 detail of Fatigues, 2014, Mounted animals, 3 elements (White-tailed deer, American red fox, North American porcupine).
Sometimes Called Monument, 1988-1989, Wood, glass, 2 clamps, and strip painted on the wall.
Trevor Gould, Sometimes Called Monument, 1988-1989 Sometimes Called Monument, 1988-1989, Wood, glass, 2 clamps, and strip painted on the wall.
Porn (from Glow Video Series), 2005, Colour DVD, silent, 15 min, and monitors, 1/5.
Kelly Mark, Porn (from Glow Video Series), 2005 Porn (from Glow Video Series), 2005, Colour DVD, silent, 15 min, and monitors, 1/5.
L’Écoute, 1992, 2 Cibachrome prints, 5/5.
Barbara Steinman, L’Écoute, 1992 L’Écoute, 1992, 2 Cibachrome prints, 5/5.
We were in Kyoto, 1997, Boardwalk, wooden structure, plastic, motors, confettis, silk, electrical supplies, and plaster and cement rocks.
Ilya et Emilia Kabakov, We were in Kyoto, 1997 We were in Kyoto, 1997, Boardwalk, wooden structure, plastic, motors, confettis, silk, electrical supplies, and plaster and cement rocks.
Things Men, 1991, Plywood, fiberboard, polystyrene foam, metal, plexiglass, black-and-white transparency, light box, and inkjet print.
Robin Collyer, Things Men, 1991 Things Men, 1991, Plywood, fiberboard, polystyrene foam, metal, plexiglass, black-and-white transparency, light box, and inkjet print.
Home, 1986, Glass, lamp back, painted wood, projector, metal support, and 16mm black and white film, loop, mute, 1 min 10 s.
Wyn Geleynse, Home, 1986 Home, 1986, Glass, lamp back, painted wood, projector, metal support, and 16mm black and white film, loop, mute, 1 min 10 s.
Not I/Pas moi, 2006-2007, Diaporama loop projected on a suspended screen of buttons, 2 suspended mirrors, 18 min.
Christine Davis, Not I/Pas moi, 2006-2007 Not I/Pas moi, 2006-2007, Diaporama loop projected on a suspended screen of buttons, 2 suspended mirrors, 18 min.
Château d’eau : lumière mythique, 1997, Cedar wood, wood, metal, mirrors, ivory narwhal tusks, sound, and light.
Irene F. Whittome, Château d’eau : lumière mythique, 1997 Château d’eau : lumière mythique, 1997, Cedar wood, wood, metal, mirrors, ivory narwhal tusks, sound, and light.
Your space embracer, 2004, Glass mirror cylinder ring, metal wire, motor, light, and tripod, 3/3.
Olafur Eliasson, Your space embracer, 2004 Your space embracer, 2004, Glass mirror cylinder ring, metal wire, motor, light, and tripod, 3/3.
(bearings), 1996, Silk organza curtains, metal railings, motors, and steel rods and rings.
Ann Hamilton, (bearings), 1996 (bearings), 1996, Silk organza curtains, metal railings, motors, and steel rods and rings.
Black Whole Conference, 2006, 74 chairs.
Michel de Broin, Black Whole Conference, 2006 Black Whole Conference, 2006, 74 chairs.
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