Material vibrations: the Chinese QI 气 in Colette Brunschwig's painting

Chinese painting is philosophy in action. 
The concept of Qi 气 is the Chinese term for (life) energy, which is part of everything. It is present in the “10.000 things” as well as in living beings, in which it is associated with breath and bodily functions. As a traditional notion reshaped by Daoist thought, Qi is believed both to be able to create and to destroy. Qi crosses the artist’s soul, making him able to transfer his inner essence into material creations. 
« MATERIAL VIBRATIONS » represents the Qi crossing Colette Brunschwig’s works and, at the same time the power of her painting’s materiality given by the artist’s savoir-fair in using the ink, the 3D quality effect, … 
Harmoniously coexisting with Fullness, Emptiness allows the circulation of the Qi and represents the dynamic principle of transformation in Colette’s paintings.
« For  very long time, Painting conveyed Meaning. 
Today the technique of Painting has itself become Meaning. 
The Necessity of painting, from which it draws its strength, is to a be a counter-power to the domination of the images that surround us and smother us and only allow us to apprehend Reality through the mesh of their synthetic nets. »  - Colette Brunschwig 
Curated by Gaia Musi

To know more about the Chinese influence in Colette Brunschwig's works, "Painting's the Ultimate Space" (monograph), and "Conversation avec Mael Bellec" (video). WeChat and Weibo

Mael Bellec, the Curator of Cernuschi Museum of the Asian arts of Paris ( Musée Cernuschi ), contributed to the analysis of the Chinese influence in Colette Brunschwig's paintings. His text « The Chinese Vein and its Ambiguities », in the new monograph about Colette "Painting the Ultimate Space", is a deep reflection about the Chinese vein that runs through the thought of Colette Brunschwig. This Chinese influence includes some ambiguities regarding the definition of the Chinese influence in Colette's work. It was a great pleasure for us to exchange with Mael in this video. 

Colette Brunschwig
Sans titre, 1981

152 x 82 cm
India ink, blue pigment, paper mounted on canvas
signed and dated front side at the bottom left

Colette Brunschwig
Sans titre, 1972

54 x 67 cm
India ink on paper
signed and dated back side at the bottom left

Colette Brunschwig
Sans titre, 1970

77 x 148 cm
India ink on paper
signed and dated at the bottom right

Colette Brunschwig
Sans titre, 1984

24.8 x 36 cm
water colour and pencil on paper
monogrammed on the top right; monogrammed back side on the top left

Colette Brunschwig
Sans titre, 1975

46 x 62 cm
India ink and watercolour on paper
signed and dated at the bottom left; signed and dated back side on the top left

Colette Brunschwig
Sans titre, 1990

46 x 63 cm
watercolour, walnut pigment and gouache on paper
signed and dated front side at the bottom left; signed and dated back side on the top left

Colette Brunschwig
Sans titre, 2001

57 x 77 cm
acrylic, pastel, colour pencil and watercolour on paper
signed and dated front side at the bottom left

Colette Brunschwig
Sans titre, 1950-1960

33 x 41 cm
India ink and acrylic on hardboard
signed and dated back side on the top

Colette Brunschwig
Sans Titre, 1976

55 x 67 cm
ink, walnut pigment on paper
signed and dated at the bottom left