Not clowning around: Galerie Kreo hosts Pierre Charpin’s ’Marbles and Clowns’

Different expression of clown faces on charpin vases. Three of the Vases are on a black marble stand with arch center. One is on a white stand. All photographed against a white background and wood floor
London’s Galerie Kreo presents a new body of work by French designer Pierre Charpin titled ’Marbles and Clowns’. The exhibition combines a humorous fleet of expressively painted clown faces sitting atop contrasting marble consoles of various sizes
(Image credit: Galerie Kreo)

The London outpost of Galerie Kreo presents a new body of work by French designer Pierre Charpin. Titled 'Marbles and Clowns', the exhibition combines a humourous fleet of expressively painted clown faces sitting atop contrasting marble consoles of various sizes. 

The marbles – a rather humble understatement for the incredible skill and craftsmanship behind these geometric masterpieces – were inspired by the process behind marble manufacturing. Charpin noted how marble is shapeless in its natural state in the landscape, and sculpting it for art or design pieces is essentially about removing something from it. His graphic pieces take this (literally) to the next level, featuring an empty circular void in the middle of each monolith. 

And then there are the clowns: ten faces painted on vases from the designer’s collaboration with Manufacture Nationale de Sèvres in 2008. They not only contrast the marble pieces in shape and colour, but also in concept. 'If marble is all about subtraction,' explains the designer, 'clowns are the opposite : they are about excess, additions, colour and make up.' This is what Charpin focused on when he painted each of his characters’ faces onto the white porcelain. 

The designer is fond of the title – it's one, he admits, that ‘couldn’t be any clearer’ about the exhibition's contents. ‘You can never underestimate the importance of a title,’ he admits, and the one he chose here is not just clearly illustrative of this small collection’s contents; it also narrates the project’s development. ‘That’s the order they arrived on the page,’ he says, ‘the marble simply came to me first, the clowns followed later. They weren’t part of the programme, that’s how they made their entrance: no drum rolls or pre-show announcements, but flying in the face of the perfect, impassive solemnity and elegance of the marble, which unsurprisingly remain stonily indifferent.’

Different expression of clown faces on chapin vase places on marble stands with donut shaped based. All photographed against a white background and wood floor

The marble pieces – a rather humble understatement for the incredible skill and craftsmanship behind these geometric masterpieces – are monolithic consoles in different hues and shades

(Image credit: Galerie Kreo)

2 images of white charpin vases with 2 different painted on clown expressions , photographed against a white background

The ten expressive clown faces are painted on Charpin vases from the designer’s collaboration with Manufacture Nationale de Sèvres in 2008

(Image credit: Galerie Kreo)

Red and white marble ball on a mushroom shaped black marble stand photographed against a grey background

(Image credit: Galerie Kreo)

Red and white marble ball on a black marble surface photographed against a grey background

Next to the very contrasting consoles and vases are two small tables which combine the two concepts, with a clown face carved into the marble tabletop

(Image credit: Galerie Kreo)

2 images of white charpin vases with 2 different painted on clown expressions , photographed against a white background

’Clowns are about excess, additions, colour and make up,’ explains Charpin 

(Image credit: Galerie Kreo)

2 images of white charpin vases with 2 different painted on clown expressions , photographed against a white background

’They weren’t part of the programme,’ says the designer of the clowns, ’that’s how they made their entrance: no drum rolls or pre-show announcements, but flying in the face of the perfect, impassive solemnity and elegance of the marbles, which unsurprisingly remain stonily indifferent, as the expression goes’

(Image credit: Galerie Kreo)

Red clown nose on a white charpin vase photographed against white background

The clown faces, complete with porcelain red nose, are not about virtuosity, Charpin notes, but about expression and grotesque character

(Image credit: Galerie Kreo)

INFORMATION 

'Marbles and Clowns' runs until 31 October at Galerie Kreo 

Photography courtesy of Galerie Kreo

ADDRESS

Galerie Kreo
14A Hay Hill
London, W1J 8NZ

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Rosa Bertoli was born in Udine, Italy, and now lives in London. Since 2014, she has been the Design Editor of Wallpaper*, where she oversees design content for the print and online editions, as well as special editorial projects. Through her role at Wallpaper*, she has written extensively about all areas of design. Rosa has been speaker and moderator for various design talks and conferences including London Craft Week, Maison & Objet, The Italian Cultural Institute (London), Clippings, Zaha Hadid Design, Kartell and Frieze Art Fair. Rosa has been on judging panels for the Chart Architecture Award, the Dutch Design Awards and the DesignGuild Marks. She has written for numerous English and Italian language publications, and worked as a content and communication consultant for fashion and design brands.