Sylvie Eyberg

doublet (the White)

Name: doublet (the White) - Sylvie Eyberg
Brand: Keijiban
Price: 3000.000000 EUR
Availability: InStock

2023

Heliogravure

48 x 34 cm

Printed on Somerset Satin 250 g paper with Charbonnel 81 Black ink by Erika Greenberg-Schneider - Bleu Acier Inc., Tampa, in an edition of three, plus two Artist’s Proofs, and two Printer’s Proofs

Related works: doublet (Lire), doublet (l'ombre)

Price: on request

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The edition

Sylvie Eyberg’s practice consists of exploring existing printed material and carefully selecting letters, words, and fragments of images which she reconfigures freely to form lyrical and enigmatic compositions. In her new series of heliogravures, the artist pursues this exploration by revealing the presence of Virginia Woolf in old magazines. Carved into the pages, the letters line up to form words and sentences that recreate fragments of Woolf’s writings, like a hidden subtext.

The title “doublet” (a pair of two similar things) is firstly a reference to the very “canvas” of the artist: the double-page spread, the ordinary and fascinating surface of an open book or magazine based upon the laws of difference and repetition. It also points out the connection of the work to the original — even in material terms, as the format of the open magazine determines the printed surface on the sheet. Finally, “doublet” also alludes to the notion of “translation,” which is key for the artist. Translation can be understood here literally as the passage from one language (English) to the other (French) and figuratively as the transformation of words into images, and vice-versa.

The artist

Sylvie Eyberg シルヴィ・エイベルグ — Photo: Denicolai & Provoost

Sylvie Eyberg was born in 1963. She currently lives in Brussels (Belgium).

Since the late 1980s, Sylvie Eyberg has worked on the interplay of images and words. She is mostly known for her precise and enigmatic combinations of black and white or monochromatic pictures with fragments of texts. Both elements usually come from magazines, books, and other printed material, and are then carefully selected and reframed, sometimes enlarged.

In some way related to the tradition of photomontage, these works express a strong sense of composition. The black and white tonality and the scarcity of depicted elements also contribute to a sense of austerity. But at the same time, the viewers/readers will quickly find themselves absorbed into the very texture of images and words. Magnetized by the muffled indetermination that permeates the works, they try to make sense of the suspended gestures and accidental aphorisms, the dreamlike figures and the poetic stuttering.

In addition to these works made using a wide range of printing techniques (photography, silkscreen, heliogravure, inkjet, and offset, among others), the artist has produced a series of films that extend and displace her interest into the relation of images to literature. These films are also an affectionate homage to cinema, to its rich history and its ability to fire up our imagination.

Let us also mention that Sylvie Eyberg generously conceived the text-work that serves as Keijiban’s logo—a carefully carved paragraph from a text dedicated to Ozu’s Tokyo Story.

At the invitation of curator Thierry de Duve, she represented Belgium at the Venice Biennale in 2003, together with Valérie Mannaerts.

Her recent shows include Spatial Bias, Lesage, Brussels, Belgium, 2021; Vu.e de dos, Le Delta, Namur, Belgium, 2020; Half-title, Shanaynay, Paris, France, 2018; descendant, Institut de Carton, Brussels, Belgium, 2018; 2. bleu et vert, (SIC), Brussels, Belgium, 2014.

Sylvie Eyberg is represented by Galerie Greta Meert in Brussels.

The exhibition