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In this world we walk
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Nourished at the sources of blues, jazz, and the ancestral music of all the continents, Natasha Krenbol is among those artists whose global culture and mixed blood seem to contain the memory of every vanishing ethnic group: one in a family of primitive and cosmopolitan poets who belong to the larger family of endangered Mother Earth. Her works draw their inspiration from what is commonly termed the "Third-World" and from contact with countries where life is simple and resources are often scarce, and where genuine social relationships, can still be found. No wonder that her works should open frontiers, which in her opinion, should have disappeared long ago. In the process, another mental life became familiar to Krenbol. For her, "objective chances" signs, encounters form a web that makes everyday life mystical in an age when life itself is surrealistic. For her, painting is total commitment, a way of life, of breathing, as is music that accompanies her everywhere. She offers us the possibility of seeing other tunes and other blends. Her paintings are full of life: there everything dances and everything moves. They express a whole culture that she carries everywhere with her, as does the travelling storyteller with his personal mythology. Animals, plants, human beings, imaginary creatures, ail beings are of equal merit in Krenbol’s universe, where the small and the great are of equal importance in the eyes of the Creator. One senses a particular tenderness for the one thousand and one small, essential details of contingency, which form the miracle and the charm of existence. It’s a universe where natural animism prevails, where life runs its course, at its own pace, stubborn and obstinate like the donkey, Krenbol’s favourite companion. It is here perhaps that resides the secret of what gives so much life to these works: the superimposition of at least two worlds, two concerns, at variance and at the same time complimentary, just as in life. Poetry rediscovers the space of free expression, and one senses the freshness of an unfettered and talented improvisation : one which knows how to, as in music, combine the feeling, the talent and the very particular sense of balance that great living artists develop by dint of warding off blows from all sides. |
Laurent DANCHIN
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It started as a study. I was writing silences, writing nights, I noted the inexpressible. I fixed vertigos. Arthur RimbaudA Season in Hell Delirium II, Alchemy of the Word | |
| Painting is like writing poetry, catching the wind: “Wings to soar above life” as Vincent Van Gogh said. Wisdom resides perhaps in the acceptance of some folly in your life… I was born in Zurich. In my early years I practiced ballet dancing, which has left me with a taste for a certain exactness. I love calligraphy, cartography, and graffiti, I have always been painting. I feel close to Paul Klee, Henri Michaux, Gaston Chaissac, Pygmy painters,
folk art from all over world, Outsider Art for its spontaneity. I love searching, digging at what’s behind the surface, leading
the traveller from one world to the other, creating paths: archaeology
of the unconscious. I try to be simple with simple means: pigment, binder and canvas, or any other chance material. I never know what is going to happen. At the beginning there is chaos, a sort of magma, I grind, I scrape, I rake. An image half-seen soon brings another one. The canvas builds itself up, layer after layer, things keep arising. I let things come, I follow my intuition. N. Krenbol |
| 1978-1982 |
Ecole Nationale Supérieure des Beaux-Arts, Paris |
| 1985-1986 |
Kala Institute, Berkeley, California |
group exhibitions |
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2021 |
Atelier Carcavel - Crest |
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2020 |
Galerie Autour de l’Image - Lyon |
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2019 |
Centre culturel Louis Aragon with Danièle Hart-Bellier - Bourg-lès-Valence Le Polaris with Gladys Brégeon - Corbas (Grand Lyon) Galerie du Bourdaric, Vallon Pont d’Arc |
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2017 |
Galerie Jean-Louis Mandon - Lyon |
2015 |
Galerie Autour de l’Image - Lyon |
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2014 |
Pli, au Quai - Pont-de Barret |
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2009 |
Grand Hôtel de l'Univers - Saillans |
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2008 |
Le Belvédère - Saint Martin d'Uriage |
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2004 |
Galerie Taoa - Crest |
2003 |
Espace Saint-Martin - Paris : Le printemps des singuliers |
2000 |
Prieuré de Manthes |
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1999 |
Funabashi city gallery - Japan Art Space Rashinban - Tokyo |
| 1998 |
Outsider Art Fair - New York Judy A Saslow gallery - Chicago : Far out'98, Halle Saint-Pierre - Paris |
| 1996 |
Altstadt gallery - Bern |
| 1995 |
Galerie Hamer - Amsterdam |
| 1993 |
Musée de la poste - Paris : Timbres d'artistes Site de la Création Franche - Bègles : Les jardiniers de la mémoire |
| 1991 |
Musée de la poste - Paris : Les guichets de l'enfance |
| 1990 |
Musée de la poste - Paris : Coups d'envois ou l'art à la lettre Gallery Pixi et Cie - Paris : Rouge écarlate |
| 1988 |
Drawings for a book Urban and suburban parks published by the Pompidou Center, exhibited at the Center |
solo exhibitions |
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2018 |
Manufacture des Tabacs, Université Jean Moulin - Lyon |
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2016 |
Santé vet - Lyon |
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2014 |
Grand Hôtel de l'Univers - Saillans |
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2013 |
Alter Art Gallery - Grenoble |
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2012 |
Creation Franche Museum - Bègles |
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2012 |
Am Stram Gram theatre - Geneva |
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2011 |
Animals spirits, l'Orangerie - Montéléger |
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2007 |
Galerie Art Prise de Tête - Romans |
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2005 | ArtActua - le Mans |
2000 |
Am Platz gallery, Twilight - Eglisau, Switzerland |
| 1999 |
Galerie Jonas, Petit-Cortaillod - Neuchâtel, Switzerland |
| 1998 |
Galerie d'Origine - Lyon Altstadt gallery - Bern |
| 1997 |
Altstadt-halle - Zug, Switzerland Trubahus gallery - Azmoos, Switzerland |
| 1995 |
Galerie Michel Lagarde - Paris Galerie Avantgarde - Mannheim, Germany Trubahus gallery - Azmoos, Switzerland |
| 1994 |
Musée Adzak - Paris : Alabama Galerie du Ressort - Paris Galerie Hamer - Amsterdam Gallery Bad Schinznach, - Switzerland |
| 1991 |
Gallery Art'o - Aubervilliers : In Harlem streets La petite galerie - Paris : Le couloir des ancêtres |
| 1986-1994 |
Drawings regularly published in “Le Monde Diplomatique” and other magazines. Creates Totopiok, the main character of a tale (English and French version, to be published) |