The exhibition conceived for Crédac is a dialogue between the two artists’ worlds. It sidesteps codes and expectations: no chronology, hierarchy, classification, or predefined divisions. Instead, it places their respective works in a new light, playing with formal and semantic relationships.

Self-taught, Nathalie Du Pasquier developed her practice through travel, contact with different cultures, and observation. Her work is driven by the sheer pleasure of painting and drawing, guided by intuition and collage, like overlapping thoughts. Over time, the everyday objects she painted early on gave way to pure, abstract forms, sometimes derived from wooden constructions that she builds and then paints onto canvas. Her work brings together flat surfaces and volumes in a constant back-and-forth between two- and three-dimensional space.

These paintings, which aspire to no reality other than their own, are well known to Pierre Charpin. In his work, everything begins with drawing. Created with an economy of means and without seeking to represent a form, these drawings are forms. They feed into his design practice, which is first and foremost a research into elementary archetypal figures, proportions, and colors, before becoming a question of material. Pierre Charpin designs sculptural objects marked by restraint—refined yet never austere—whose poetry stems from the pencil line that brought them into being.

The exhibition brings together works from all periods of both artists’ careers. Combining paintings, installations, and objects to create new configurations for this occasion, their works inhabit the space. Together, they form a joyful, colorful landscape that celebrates gesture and the friendship between the two creators.