“I’m interested in the body being out of control, that you think you are in control, but you are actually not, your body is betraying you, or things are happening that you can’t control... So the noses are, to me, represent that sort of weight, like an external vision of weight and being out of control, but still trying to be dignified about it.”
— Louise Bonnet

 

Body Chaos

 

Louise Bonnet’s Scotch Tape captures her enduring fascination with bodily discomfort and psychological tension through her signature style of figurative distortion, striking a balance between beauty and the bizarre. She frequently explores the body's ability to act beyond our control, a theme vividly illustrated in this work. These exaggerated features seem to operate independently of the figure's intentions, creating a powerful visual metaphor for how our physical forms can disrupt our desired self-presentation, leading to unexpected revelations.

 

Born in Geneva in 1970 and now based in Los Angeles, Bonnet investigates the body's involuntary reflection of inner emotions in her work. The figure's dramatically elongated ear and nose serve as striking focal points, bending under gravity while retaining an elastic quality. The truncated view of the head and neck heightens the psychological tension, as the artist's manipulation of anatomical forms explores themes of shame, control, and vulnerability. Bonnet’s unique visual language draws from her early interests in comics, particularly works of Robert Crumb and the cartoons of Charlie Hebdo. These formative encounters with uninhibited artistic expression revealed to her the liberating potential of art without constraints.

 

Additionally, her fascination with horror films has significantly influenced her vision, especially in how they present the body’s capacity for transformation and distortion. This influence is vividly expressed in the current lot, where the exaggerated ear and nose become the central focus, embodying the tension between vulnerability and resilience.

 

 

 

While Bonnet consciously attempts to ‘shut off’ her thoughts while painting, themes of womanhood and feminism inevitably permeate her work. These undercurrents introduce an additional layer of complexity to her exploration of bodily discomfort and social expectations, emerging organically rather than as overt statements. This unconscious engagement with gender adds greater depth to the tension present in her pieces.

 

“I’m interested in the body being out of control, that you think you are in control, but you are actually not, your body is betraying you, or things are happening that you can’t control... So the noses are, to me, represent that sort of weight, like an external vision of weight and being out of control, but still trying to be dignified about it.”
— Louise Bonnet

 

 

Between the Physical and the Psychological

 

The present lot also highlights the artist’s mastery of oil paint, a medium she has embraced since 2014. The luminous surface and expert handling of volume showcase her deep understanding of the medium. Her nuanced treatment of flesh tones and the subtle interplay of highlights and shadows create an almost sculptural presence through her careful attention to the chiaroscuro effect. This technical approach, rooted in historical painting traditions, enhances the impact of the distorted anatomy and adds a classical framework to the piece.

 

 

 

By obscuring the figure's face–an intentional choice in her work–Bonnet fosters a psychological space where viewers can project their own emotions onto the image, free from the influence of facial expressions. This concealment creates an uncomfortable voyeuristic dynamic that intensifies the work's psychological tension.

 

The title, Scotch Tape, adds another layer of meaning, suggesting both adhesion and transparency–qualities that mock the figure's struggle to maintain dignity amid bodily betrayal. This reference creates a striking contrast with the painting's psychological depth, exemplifying the tension between the mundane and the grotesque that permeates much of Bonnet's oeuvre.

 

With a background in graphic design and illustration, Bonnet infuses her paintings with a precise formal sensibility while pushing the boundaries of figurative representation. Her unique visual language merges volumetric drama with a contemporary understanding of bodily distortion, evoking both surrealist painting and cartoon aesthetics. This work marks a pivotal moment in Bonnet's artistic development, crafted during a time when she fully embracedthe expressive potential of oil paint and honed her distinctive style. It crystallises her ongoing exploration of the relationship between physical form and psychological state, producing an image that oscillates between attraction and repulsion, dignity and absurdity - a duality that continues to define her practice.

 

 

Collector’s Digest

 

Born in Geneva in 1970, Bonnet studied at Haute école d’art et de design before launching her creative career working in graphic design and illustration. In 2008, she transitioned to painting with a solo exhibition at Subliminal Projects in Los Angeles.

 

Her recent exhibitions include Onslaught from 31 May to 6 August 2022, at Gagosian in Hong Kong, marking her first solo show in Asia, and Bathers at Galerie Max Hetzler in Paris from 11 September to 30 October 2021, which was her French debut. She also showcased her work in The Hours at Gagosian in New York City from 29 September to 7 November 2020 and was featured in The Milk of Dreams at the Venice Biennale in 2022.

 

Bonnet’s work is part of several prestigious permanent collections, including the Yuz Foundation in Shanghai; the Los Angeles County Museum of Art; the San Fransisco Museum of Modern Art; the Hammer Museum in Los Angeles, and the Brandhorst Museum in Munich, among others.