Vian Sora: Tepe Gawra
Bortolami, New York, US
Clémence de La Tour du Pin
Derosia, New York, US
On view until March 7, Derosia presents a new series of works by Clémence de La Tour du Pin that compress image, movement, and infrastructure into a single, low-slung horizon. A row of elongated, asphalt-darkened paintings runs around the space at a lowered height, their narrow format framing fragments of motion inside solid, contoured boundaries. Each work consists of two or three adjoining parts, establishing a rhythm of segments and seams that reads almost like a continuous band cut into pieces.
Across these oil-painted surfaces, metal umbrella ribs are affixed in diagrammatic formations. Their curves and sharp V-shaped angles trace motion over a sedimentary, layered paint skin, echoing archival images that have informed the artist’s thinking: photographs of subatomic particle paths and the mechanical lattice of petrochemical refineries. The ribs act like drawn lines made three-dimensional—registering force and direction while remaining embedded in the dense, dark ground beneath them.
One further elongated piece reverts to a motif from previous work, deriving its structure from fabric patterns. Here, the pattern is isolated, stretched, cut, and reassembled into sequential arrangements, then worked over through multiple composite layers of paint. Cracks appear across the surface as the material dries and shifts, introducing a less controlled register into the composition. These fractures become part of the language of the work, emphasizing responsive handling and the inherent behavior of the materials themselves.
In the back room, a video offers an offset but related perspective: an excerpted conversation between two industrial chemists discussing how molecules and odor emissions are managed in petrochemical facilities. The focus on invisible flows and their regulation parallels the diagrammatic traces in the paintings, extending the exhibition’s attention to systems, control, and the unseen operations that shape the environments we inhabit.
Throughout the show, the works function through recursion. Lines and forms repeat, reflect, and echo their own internal logic across different scales and media, from the umbrella ribs that span a painting’s length to the patterned segments and the chemists’ analytical dialogue. The video—second in an ongoing series—and the patterned painting both redeploy structures from earlier pieces, underscoring de La Tour du Pin’s sustained engagement with formal systems that are continually revisited, reworked, and re-materialized over time.
For more information, please consult Derosia’s website here.
Last Updated on February 10, 2026
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About the author:
Julien Delagrange (b. 1994, BE) is an art historian, contemporary artist, and the director of CAI and CAI Gallery. Previously, Delagrange has worked for the Centre for Fine Arts (BOZAR) in Brussels, the Jan Vercruysse Foundation, and the Ghent University Library. His artistic practice and written art criticism are strongly intertwined, examining contemporary art in search of new perspectives in the art world.
Clémence de La Tour du Pin
Derosia, New York, US
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