Harlem
L'arbre incliné / étape VI
Les quatre arbres / étape VII

Harlem
2005
etching
36 x 47 centimeters

In 'Belief in the Age of Disbelief', GAILLARD has introduced tower blocks into 17th Century Dutch landscape etchings. These post-war structures, once a symbol of utopian promise that have now come to represent racial conflict, urban decay, criminality and violence, have been seamlessly assimilated into a rural idyll. Some tower blocks have been positioned in the composition like a defiant medieval fortress, others as apocalyptic ruins. Like the paintings of Hubert ROBERT, admired by DIDEROT, who depicted ancient ruins and even the imaginary future ruins of the Louvre (1796), GAILLARD comments on the relationship between romanticism and decay, and architectures' inherent communicative power.

L'arbre incliné / étape VI
2005
etching
36 x 47 centimeters

In Belief in the Age of Disbelief, Gaillard has introduced tower blocks into 17th Century Dutch landscape etchings. These post-war structures, once a symbol of utopian promise that have now come to represent racial conflict, urban decay, criminality and violence, have been seamlessly assimilated into a rural idyll. Some tower blocks have been positioned in the composition like a defiant medieval fortress, others as apocalyptic ruins. Like the paintings of Hubert Robert, admired by Diderot, who depicted ancient ruins and even the imaginary future ruins of the Louvre (1796), Gaillard comments on the relationship between romanticism and decay, and architectures' inherent communicative power.

Les quatre arbres / étape VII
2005
etching
36 x 47 centimeters

In Belief in the Age of Disbelief, Gaillard has introduced tower blocks into 17th Century Dutch landscape etchings. These post-war structures, once a symbol of utopian promise that have now come to represent racial conflict, urban decay, criminality and violence, have been seamlessly assimilated into a rural idyll. Some tower blocks have been positioned in the composition like a defiant medieval fortress, others as apocalyptic ruins. Like the paintings of Hubert Robert, admired by Diderot, who depicted ancient ruins and even the imaginary future ruins of the Louvre (1796), Gaillard comments on the relationship between romanticism and decay, and architectures' inherent communicative power.