Profil, 2015 | Oil on canvas | 63 x 47 inches

Widewalls previews Edwige Fouvry's April Exhibition

Edwige Fouvry's Synthetic Visions Coming to Dolby Chadwick Gallery

March 2016

At first glance, Edwige Fouvry’s paintings look like portraits and landscapes, done in an expressive manner, with a combination of intense colors influenced by contemporary trends. Visually, they do indeed fall under the category of these genres, but the way these paintings are made has very little to do with facts directly related to the visual. Instead of simply observing and imitating the images around her, the artist allows the external narrative to make an impression on her, and to shape the emotions that eventually generate these paintings.… read more

Huffington Post reviews Edwige Fouvry at Dolby Chadwick Gallery

March 2014

Edwige Fouvry, a Brussels-based painter who is having her second solo exhibition at Dolby Chadwick Gallery in San Francisco, is interested in finding order and structure in chaos. Her painterly thickets, clearings and woodlands -- which sometimes include nude figures seemingly born from the painted landscape itself -- are charged by a sense of exploration and discovery. I recently interviewed Fouvry and asked her about her background, her approach and her influences.… read more

"Maison et Branchages"

SF Chronicle reviews Edwige Fouvry's exhibition at Dolby Chadwick Gallery

Painting people in places

March 2014

Edwige Fouvry's highly textured landscapes and portraits of nudes contain cryptic qualities that beckon the viewer to move closer and study each informative detail. Based in both reality and the ethereal, they possess figurative and abstract elements. With her current solo exhibition, "Sous le Ciel," which translates from French as "Under the Sky" and shares the name of a novel written by friend Rene Bizac, Fouvry utilizes these subjects to examine the relationship between people and their interaction with the natural world.… read more

Dolby Chadwick Gallery participates in the third annual artMRKT fair at Fort Mason Center

May 2013

artMRKT San Francisco, the Bay Area’s premier contemporary and modern art fair, will feature 70 galleries from around the globe, bringing some of the world’s most intriguing artists and galleries to San Francisco. In showcasing historically important work alongside relevant contemporary pieces and projects, artMRKT will create an ideal context for the discovery, exploration and acquisition of art.… read article

Le Voeu Secret, 2011

Peter Selz reviews Edwige Fouvry's exhibit at Dolby Chadwick "Ars Memoriae" for Art ltd.

Edwige Fouvry: "Ars Memoriae" at Dolby Chadwick Gallery

July 2012

This show, titled "Ars Memoriae," marks Edwige Fouvry's first solo show in the US. Fouvry is a French artist living in Belgium, where her work has been exhibited since 1995. Antecedents for her highly original painting, which render the human figure with discomforting intimacy, can be seen in paintings by Oskar Kokoschka, Lucien Freud and Marlene Dumas. Observation, memory and imagination interact in Fouvry's painterly response to figures and faces, and, now also to landscape. These are intimate paintings, not large in scale, and done with a fluid, elegant brush, creating a smooth texture for canvases of modulated luminous color. A blood red surrounding the eyes in the woman's head inPortrait de Nuit (2011), evokes a feeling of sorrow, if not pain. This painting, like other renditions of the human face, in Le Voeu Secret (The Secret Wish) (2011) and the tragic Seul (Alone) (2011), are mysterious images of vulnerability and endurance. They call to mind philosopher Martin Buber's famous essay "I and Thou," in which he postulated the concept of "Dialogical Encounter." In these paintings by Fouvry, we are dealing with a painter whose committed encounters with her subjects evokes in turn the viewer's resonant response.… read more

Portrait de Nuit, 2011

Kenneth Baker reviews Edwige Fouvry's exhibition "Ars Memoriae" for the San Francisco Chronicle

Edwige Fouvry: Re-embodied

April 2012

The space surrounding the figure is rich in optical cues - deep here, shallow there, pointedly ambiguous as to scale - but refuses to locate it legibly. Both the looseness of Fouvry's brushwork and the head's disconnection from the space around it lead us to see it not merely as isolated or afloat, but as severed. The grayness of the face's complexion reinforces the repellent hint of a post-mortem view. The mind retreats to the fact that severed heads make many appearances in the history of art, frequently with biblical sources. But an echo of physical recoil persists.… read more