Artist


Fanchon Fröhlich

   
 
 

Press release

GALLERY4ALLARTS
Contemporary Art Gallery

http://www.gallery4allarts.com
Tel: 07756912911
Email: info@gallery4allarts.com

"Fanchon Fröhlich, Beryl Bainbridge - a friendship"

18th Sept - 29th Sept 2010

Preview: Thursday 16th September, 3pm - 8pm
(Open to accredited press and professionals);
Open Day: Saturday 18th September 12 - 7.00pm

16th& 18th Sept 6-7pm
Readings from Beryl Bainbridge’ by Windows Project - Dave Ward and Eleanor Rees

Venue: Gallery4allarts, Gallery 1

"This exhibition is to commemorate Beryl Bainbridge in paintings and drawings of her, her husband and her babies. Also, featuring drawings of my husband, Herbert Fröhlich and a painting of myself in the 'Beryl period'. We were a group of people, Beryl Bainbridge, I - a philosopher from Oxford and later an abstract painter, her husband - Austin Davis, a painter who has just done a huge painting of "Dejeune sur l'herbe" (...) and my husband Herbert, Professor of Theoretical Physics. (...)” For 'All our yesterdays'.
Curator: Nicole Bartos


Fanchon Fröhlich
(nee Angst) was a philosophy student at the University of Chicago, where she worked with Rudolf Carnap (formerly of Vienna, and the founder of the Vienna Circle) and Oxford where she studied with Sir Prof. Peter Strawson, doing a doctorate in Primary and Secondary Qualities.
She studied at Liverpool College of Art, then moved to St Ives to work with Peter Lanyon. Later she travelled to Paris where she worked with the sculptor Szabo and finally studied at Stanley William Hayter’s etching atelier, Atelier 17, all of the time preserving her faith in Abstract Expressionism.
Fanchon married Herbert Fröhlich, Professor of Theoretical Physics at Liverpool University and at the Max Plank Institute in Stuttgart.
Fanchon’s artwork unites philosophy of science and art, evident for instance in the ‘Position of Light in Art’ and the ‘Paradoxes of Abstract Expressionism and Pop Art’ to the book she co-edited with Sylvie le’ Seach (who was also a pupil of Hayter): ‘S.W. Hayter Research on Experimental Drawing: Systems of Oscillating Fields’.

Fanchon has produced both representational paintings – among which is the portrait of her husband to be displayed in the Royal Society (for Scientists) in London – and abstract expressionist paintings, etchings, and more recently ‘Collective Phenomena’.
" Part of Fanchon’s greatness lies in her ability to continually reinvent herself as an artist. Her writings on philosophy, science and art, her immense European culture, that also takes in the work of the American abstract expressionists, as well as the Japanese influences on her art, initiated by a period of work with Goto San in Kyoto, have all combined over the years, to the continuous and lively remaking of her art as the dominant expression of a life committed to imaginative creativity. (...)
Her work, always celebratory in tone and driving in energy, is the unstoppable example of an artist working with courage at the edge, and one who is prepared to accept all experience as subject matter for art, and to compound the risks proposed by pioneering into adventurous experimentation." (excerpt ‘Neural Supernovae’, by Jeremy Reed, 2007, London)
‘ Collective Phenomena’ is the name for a group of abstract artists painting collectively on the same surface, using the gestures of one then another as inspiration and results (in some cases) to a unusual counterpoint.
Fanchon has collaborated with artists from France, Italy, United States of America, England, Ireland and Taiwan – usually painting two by two, or by three. For performances there is a musician from London, Laurence Ball, who improvises according to the motions of the artists and the atmosphere.
A few of the renowned artists and philosophers names that Fanchon has worked or collaborated with, since the '50s, are: William Hayter, Elizabeth Anscombe, Peter Lanyon, Prof. Peter Strawson, Kenji Yoshida (Sayonara/ Mr. Blue Sky/ Japan; Paris), Goto San (Japan), Yasse Tabuchi (Japan) , Kuo Yu Lun (Taiwan), Lawrence Ball, Jeremy Reed, Jane McCormack, Sylwie le' Seach and many others.


http://www.fanchonfrohlich.com

read more

Gallery4allarts contact and addresses:

GALLERY4ALLARTS – Gallery 1
80 Lark Lane,
The Old Police Station,
Liverpool,
L17 8UU,
Merseyside

Opening times - Gallery 1:
Tuesday-Thurs 3.00pm – 6.00pm;
Friday, Saturday 12.00am - 5.00pm
Closed: Monday, Tuesday and Sunday

Gallery also open by appointment. Please, contact by phone to arrange appointment.

Website: www.gallery4allarts.com
E-mail: info@gallery4allarts.com
Tel: 07756912911

________________________________________________

Read exhibition review by Gayna Rose Madder.

"Fanchon Fröhlich, Beryl Bainbridge - a friendship"
Gallery4allarts
Gallery 1, 80 Lark Lane, The Old Police Station, L17 8UU
18th Sept - 29th Sept 2010
Reviewed by Gayna Rose Madder

Fanchon Fröhlich is, I think it is fair to say, one of the most under-rated artists of these times, given her vast and esoteric body of work, her life experiences and her quite extraordinary and unique 'take' on her subjects.
This is a rare chance to view, and certainly to buy, rare pieces of her historical works.
In this exhibition, which is to commemorate Beryl Bainbridge in paintings and drawings of her and her friends and family, the artist captures the spirit of an age - the sixties - which is both knowing and innocent, and now almost impossible to imagine. The equivalent of a 'Bloomsbury group' of that time, Fanchon, Beryl and their high-profile husbands formed a glamorous and erudite society crossing several career and social boundaries.
Featuring a self-portrait by Fanchon, a philosopher from Oxford and later an abstract painter, in the 'Beryl period', drawings of her husband, Herbert Fröhlich, a Professor of Theoretical Physics, of Beryl Bainbridge and her husband Austin Davis, a painter (when he had just completed a huge painting of "Dejeune sur l'herbe", this intimate and insightful show also features touching pictures of Beryl with her babies.
I was fortunate enough to meet Beryl Bainbridge, a lifelong literary heroine of mine, five years ago, and then to visit her home in Camden. The sensitive paintings and drawings here capture the paradox between her angular, almost androgynous features, the brittle, sometimes caustic nature of her prose, and the much softer and more gentle, always open and generous nature which lay beneath the underlying wit and understanding of her novels.
Fanchon 's huge canon includes representational paintings and abstract expressionist paintings and etchings. She has collaborated with artists from France, Italy, United States of America, England, Ireland and Taiwan Her artwork unites philosophy of science and art, evident for instance in the ‘Position of Light in Art’ and the ‘Paradoxes of Abstract Expressionism and Pop Art’ to the book she co-edited with Sylvie le’ Seach (who was also a pupil of Hayter): ‘S.W. Hayter Research on Experimental Drawing: Systems of Oscillating Fields’.
Jeremy Reed states that "Part of Fanchon’s greatness lies in her ability to continually reinvent herself as an artist. Her writings on philosophy, science and art, her immense European culture, that also takes in the work of the American abstract expressionists, as well as the Japanese influences on her art, initiated by a period of work with Goto San in Kyoto, have all combined over the years, to the continuous and lively remaking of her art as the dominant expression of a life committed to imaginative creativity. Her work, always celebratory in tone and driving in energy, is the unstoppable example of an artist working with courage at the edge, and one who is prepared to accept all experience as subject matter for art, and to compound the risks proposed by pioneering into adventurous experimentation."
Fanchon Fröhlich (nee Angst) was a philosophy student at the University of Chicago, where she worked with Rudolf Carnap (formerly of Vienna, and the founder of the Vienna Circle) and Oxford where she studied with Sir Prof. Peter Strawson, doing a doctorate in Primary and Secondary Qualities. She studied at Liverpool College of Art, then moved to St Ives to work with Peter Lanyon. Later she travelled to Paris where she worked with the sculptor Szabo and finally studied at Stanley William Hayter’s etching atelier, Atelier 17, all of the time preserving her faith in Abstract Expressionism. She married Herbert Fröhlich, Professor of Theoretical Physics at Liverpool University and at the Max Plank Institute in Stuttgart.
Some of the renowned artists and philosophers names that Fanchon has worked or collaborated with, since the '50s, are: William Hayter, Elizabeth Anscombe, Peter Lanyon, Prof. Peter Strawson, Kenji Yoshida (Sayonara/ Mr. Blue Sky/ Japan; Paris), Goto San (Japan), Yasse Tabuchi (Japan) , Kuo Yu Lun (Taiwan), Lawrence Ball, Jeremy Reed, Jane McCormack, Sylwie le' Seach, and many others. For performances there is a musician from London, Laurence Ball, who improvises according to the motions of the artists and the atmosphere.
© Gayna Rose Madder 2010. Some parts of this article edited from Gallery4allarts information supplied.
www.fanchonfrohlich.com
Gallery4allarts contact and addresses:
GALLERY4ALLARTS – Gallery 1, 80 Lark Lane, The Old Police Station, Liverpool, L17 8UU
Opening times: Gallery 1: Tuesday-Thurs 3.00pm – 6.00pm; Friday, Saturday 12.00am - 5.00pm
Closed: Monday, Tuesday and Sunday. Gallery also open by appointment. Please, contact by phone to arrange.
Website: www.gallery4allarts.com
Email: info[at]gallery4allarts.com
Tel: 07756 912 911
Page printed from:
http://www.catalystmedia.org.uk/reviews/fanchon_frohlich.php

___________________________________________________________________

Neural Supernovae


"Fanchon
Fröhlich’s paintings are essentially neural, in that their explosive delivery of colour maps out work that takes its direction from inner landscapes given the form of abstract configuration. With a background in linguistic philosophy and science, Fanchon began painting at the Liverpool College of Art, largely as a figurative artist, before her seminal involvement with the etcher S.W. Hayter’s Atelier 17 in Paris, an experience that radically challenged her formative experiments with figurative painting, and transformed her into the liberated proponent of abstract expressionism who we know today. Only a small number of Fanchon’s early works have survived, but amongst them is the achingly sensitive portrait of her late husband, the physicist, Herbert Frohlich, shown here, as a superb example of her ability to bring the complex inner thinker to light, so that we the viewer are confronted directly with the man’s characteristic preoccupation with thought processes, as his means of connecting with the quantum universe by way of physics.
Part of Fanchon’s greatness lies in her ability to continually reinvent herself as an artist. Her writings on philosophy, science and art, her immense European culture, that also takes in the work of the American abstract expressionists, as well as the Japanese influences on her art, initiated by a period of work with Goto San in Kyoto, have all combined over the years, to the continuous and lively remaking of her art as the dominant expression of a life committed to imaginative creativity.
In 1991, Fanchon always in search of the new founded the Collective Phenomena, an art movement characterised by having several painters working abstractly together on a surface that takes its force from concentrated spontaneity within the participants, the activity often being performed live to the accompaniment of Lawrence Ball’s extempore piano music. The work of the Collective Phenomena, beautiful, disturbing, powerfully conflicting and neurologically menacing, is integral to the provocatively challenging retrospective of an artist at last coming up for serious consideration as a major painter.
Fanchon’s connections to Liverpool too, as the concealed city buried in the subtext to her art, forms another important aspect of her creative growth as an artist, right from her early years of studying at the Liverpool College of Art, to assimilating the city’s indigenous culture into the textural density of her work as place, no matter how abstractly overwritten. Her work, always celebratory in tone and driving in energy, is the unstoppable example of an artist working with courage at the edge, and one who is prepared to accept all experience as subject matter for art, and to compound the risks proposed by pioneering into adventurous experimentation. I would point for example to the painting Visual Music V11 Lyrical Moon, a collaboration between Fanchon and Sylvie Le Seac’h, as a superb instance of the collective method, in which intense colour mixed with acute sensory experience, come together as the fusion of energies instrumental to creating a spontaneous work of visionary intensity. But for all Fanchon’s education in philosophic and scientific disciplines, the work is never prohibitively cerebral, but always moves seamlessly from mental conception to imaginative expression without trace of interruption.
Almost entirely conceived in Liverpool, in a studio with aerospace-silver walls, high up in her old 19th century house on Greenheys Road, Fanchon
Fröhlich who works in a light peculiar to her adopted city, has produced a highly original body of work, edgy, impacting, colourful, energised, and totally, unapologetically the real thing."

(Jeremy Reed, 2008)

 

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