Nadée was born in France in 1969 and currently lives and paints in Paris and Marseilles. Her formal art training was achieved at the Royal Academy of Fine Arts in Brussels, Belgium and at Paris Ateliers in Paris, France. Nadée’s artwork is exhibited worldwide and has been included in prestigious exhibitions including Art Istanbul, European Biennial in Paris and FIAT at Centre Pompidou, Museum of Modern and Contemporary Art in Metz, France. Newbury Fine Arts is proud to be her sole representation in the United States.
In her paintings, Nadée explores the human figure through trace, movement and memory. Her unique style balances representation and abstraction as she seeks to create “pure paintings” as the Cubist painters once did. She further pushes herself to create natural textures, emulating the earth through unexpected materials such as precious stone pigments from India, metallic leaf and sand.
The artist’s colors are deeply influenced by her time spent in Northern Africa and the distinct “la blanche” light it is famous for. Among her artistic influences is Paul Klee, whose artistic breakthrough came from his time spent in Northern Africa where he was also impressed by the quality of the light. He wrote of this light, “Color has taken possession of me; no longer do I have to chase after it, I know that it has hold of me forever…”
In 2006, the celebrated art critic Marie Deparis described Nadée’s paintings: (translated from French)
At first sight, the balanced elegance of the semi-figurative touch found on Nadée’s paintings both seduce and sooth. The balance of the composition is such that it seems natural, as if the artist allows a natural aesthetical order to unfurl to reach plenitude. This is because Nadée’s artwork, having reached an ideal point of harmony, force and balance, is the fruit of a long path that she chose to cut through the world of art. She has followed this path from a very young age, both spiritually and aesthetically fed from Fra Angelico to Paul Klee, from Nicolas de Stael to Gustav Klimt. Every so often, almost unwillingly, those tutorial shadows, sometime paradoxical, emerge in the love of precious ornaments and byzance, or to the contrary, in purity and abstraction.
Nadée enjoys the “babelian” and immaculate architectures of the cities and towns in northern Africa, stemming from her own experiences living there; cutting through sky and sand, men women and children gathering in the small streets under the sun. But you don’t find any “folk” Orientalism, nor any red, orange and voluptuous copper colour schemes that one would expect from this inspirational theme.
Nadée’s art is somewhere else; it lies in abstract memories, “feelings” rather than “pictures”, of these Middle East cities, bathed in this so peculiar light that one calls “la blanche”. It lies in the primer-less sensuality of her canvases without frame nor varnish, fragile and strong; eminently “present,” in a word. The use of linen or Hessian canvas, instead of a traditional framed cotton canvas, enhances the raw, natural and pure aspect of her work.
Purity: a word that comes to mind often when one attempts to describe Nadée’s work. Purity in the simplicity of organic materials, mineral or vegetal pigments, or in the rarity of the gold powder she uses sometimes. She uses elegant purity of the colours, in those admirable grey, sandy and blue camaieus. Purity at last, of the artist’s intentions, who expresses through this serene humanist art work, kindness to humans, rare and authentic enough not to be underlined. Indeed it doesn’t take long to discover her sensitivity and delicacy. Her aesthetic sensitivity is indeed obvious but beyond that, we guess a kind of metaphysical intuition of human presence, a deep empathy for the human condition against these endless spaces that always scare us.
Nadée likes this universe’s vastness, endless skies, horizon-less seas and borderless deserts, that she conceptualizes as endless sources of liberty more than an excuse for anguish. Freedom without interference, freedom of the “whole possible” to explore, search and dig out endlessly an intimate nature as well as the world’s intimacy. As Nadée says, fine works of art are not a monologue, but “pour autrui” (for the others) as philosophers say, as well as for ourselves. Would fine art be qualified as a common place for sharing and dialogue? For Nadée it would actually come from inside and meet the “solitudes”.
Nadée talks endlessly and with modesty about this loneliness marking “l’évènement meme d’être” (the simple fact of “being”). If those characters she represents are often reduced to fugitive silhouettes, they are still present in their mysterious integrity, their intimacy that the artist only brushes lightly without ever being tempted by their revelation.
Nadée has developed in an impressive way, in just a few years, her art, her skill and inspiration. No doubt that this emerging artist whose talent matches her sensitivity and modesty, is on her way to a brilliant career.
European Biennial, Paris, France
Gallery Europe, Paris, France
Murberget, Museum Västernorrland, Härnösand, Sweden
Art club, Cologne, Germany
Civic Center Ateneu Fort Pienc, Barcelona, Spain
Wesner Gallery, Constance, Germany
Department of Finance, Saarbrücken, Germany
Figure Gallery, Paris, France
Salon d'Automne, Paris, France
Rubens Gallery, Brussels, Belgium
Gallery Palz, Saarlouis, Germany
Space Art and Freedom, Charenton, France
Chesia dell Angelo, Lodi, Italy
Galerie Crous Beaux-Arts, Paris, France
ArtForum, Montreux, Switzerland
Red Gallery, Bordeaux, France
Lifebomb Gallery, Berlin, Germany
FIAC, Centre Popidou, Museum of Modern and Cotemporary Art, Metz, France
Grande Arche, Paris La Defense, France
Gallery Allanix, Geneva, Switzerland
Puls'Art, Le Mans, France
Galerie Baudoin Lebon, Paris, France
Art Istanbul, Turkey
Partsch, Susanna. Klee, 1879-1940. Taschen, 1992. P. 9