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Up L : Alex mixing soundscapes on computer
Up R : Farfisa VIP 220R, Lovetone Big Cheese & MXR Analog Delay
Down L : Mark mixing soundscapes on laptop computer
Down R : Gibson Les Paul Recording, Crest Audio Dallas Arbiter Fuzz Face (BC 109C Silicon Transistors), MXR Micro Flanger (Block Logo) & Adidas sneakers
Group 3_
Alejandro Candela, Georgina Muñoz, Carlos Paz, Berenice Jimenez, Laura Antelo, Gabriel Manriquez
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
OnLine - The Performance - Premiere - Venice Biennale of Architecture 2014 - Fundamentals, Salon d'Armi, Arsenale, opening day, 7th June 2014, Venice, Italy. Face tracking, clmtrackr portrait leaks. Code modulation by Henner Wöhler.
OnLine - The Performance - Premiere - Venice Biennale of Architecture 2014 - Fundamentals, Salon d'Armi, Arsenale, opening day, 7th June 2014, Venice, Italy. Face tracking, clmtrackr portrait leaks. Code modulation by Henner Wöhler.
Garland Fielder 'Octahedron Diptych', 2008-2010, Holly Johnson Gallery, Dallas
Garland Fielder exhibit 'Modulations'
Radium 49 Key M-Audio polyphonic Keyboard.
Features
USB connection with power - power it off your laptop.
Pitch and Modulation wheels
999 programmable options
Multi-octave presets
8 little sliders and 8 little dials
plugs for sustain switch, midi out to keyboard and USB, runs off battery, usb or power adapter.
Works great with GarageBand.
Group 1_
Cynthia Castillo, Moises Talavera, Amir Hanna, Guillermo Perez, Osvaldo Andrade
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
This is a tremolo that we have designed as standard sounding with LFO. Transparent and in sinusodial wave form. Extra led indicates LFO's speed. Not operable with battery.Controls: Depth, Rate--SOLD--
Garland Fielder 'Untitled' (Steel Octahedron), 2010, Holly Johnson Gallery, Dallas
Garland Fielder exhibit 'Modulations'
.coursework level 2 .january/february 2008
.each element was made using a different construction process .slabs .coils .modulation
.tutor: martim santa rita
Title: Concha Renaissance San Juan Resort
Other title: Concha
Creator: Toro, Osvaldo 1914-1995; Ferrer, Miguel, 1915-2004; Salvadori, Mario George, 1907-1997; Marvel & Marchand Architects
Creator role: Architect
Date: 1958 (original) 2008 (renovation)
Current location: San Juan, Puerto Rico
Description of work: Renaissance Hotels tasked architect Jose R. Marchand and interior designer Jorge Rossello with renovating and saving this beachside landmark. "[B]y the mid-1990s the venerable La Concha hotel had been shuttered, abandoned and left to rot...Originally designed by Osvaldo Toro and Miguel Ferrer, with an eccentric but utterly loveable seashell-shaped restaurant by Mario Salvatori [sic], La Concha was a beautifully massed, expertly sited, vividly inventive building perfectly in sync with its time. Closely attuning the hotel to its sun-swept setting, the architects created deep-shading overhangs, open corridors, windows and doors that gave onto lush interior courtyards and provided cross ventilation, and beautifully lacy quiebra-sol (their take on a brise-soleil) for further modulation of the light and heat" (Frank, Michael. "La Concha Revival". Architectural Digest. Aug 2009, p. 103-104. Print).
Description of view: General view of the hotel and restaurant from south.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Materials/Techniques: Concrete
Trees
Source: Pisciotta, Henry (copyright Henry Pisciotta)
Date photographed: May 13, 2008
Resource type: Image
File format: JPEG
Image size: 2304H X 3072W pixels
Permitted uses: This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. For additional details see: alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection: Worldwide Building and Landscape Pictures
Filename: WB2010-0248 Concha.JPG
Record ID: WB2010-0248
Sub collection: resorts
waterfronts
Copyright holder: Copyright Henry Pisciotta
© All rights reserved MICHAEL LAX 1980 United States
Plastic 5 5/8 x 6 5/16 x 6 5/16? (14.3 x 16 x 16 cm) Manufacturer: Amcor, Ltd., Tel Aviv The Museum of Modern Art, New York. Gift of the designer. Exhibition copy in the collection of Trisha Donnelly.
This came to me for repair. The Frostwave pedals are really well built and well thought out. They also sound great. This ring modulator can provide smooth tremolo effects at low frequency settings and ring modulate all the way past the audible range at HF. Plus it has a CV in and a second modulation input with blend knob. Try one if you can find one. They are cool! I don't want to give this one back.
Group 1_
Cynthia Castillo, Moises Talavera, Amir Hanna, Guillermo Perez, Osvaldo Andrade
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Kate Beck
Modulation , 2010
Graphite of paper on aluminum
12 x 12 inches
PG# KB.0013
Pelavin Gallery is proud to announce a solo exhibition of recent work by American artist, Kate Beck. This show will include large scale poured oil paintings and graphite drawings on aluminum panel. This will be Beck’s first solo exhibition at the gallery, and in New York City.
In this new body of work, Beck continues her engagement with repetitive tonal rendering as a means of interaction between light and shadow, human thought and consciousness, and the dynamic architectonics of space. This time she takes the essence of form further by using aluminum substrates, allowing modulating marks of graphite and poured oil to accumulate and shift amidst the confines of the geometric shapes. Tension oscillates between formalistic geometry and existential space; an allusion to thought and consciousness, and the passage of time.
For more information, please visit pelavingallery.com
In 1930 Georgia O’Keeffe witnessed a drought in the Southwest that resulted in the starvation of many animals, whose skeletons littered the landscape. She was fascinated by these bones and shipped a number of them back to New York City. She later wrote, “To me they are as beautiful as anything I know. To me they are strangely more living than the animals walking around… . The bones seem to cut more sharply to the center of something that is keenly alive on the desert even tho’ it is vast and empty and untouchable—and knows no kindness with all its beauty.” The bones provided her with interesting shapes and textures, and she painted them frequently, intrigued as much by their symbolism as by their formal potential.
In Cow’s Skull with Calico Roses, O’Keeffe decorated the skull with artificial flowers, the kind used to adorn graves in New Mexico. Tucked against the ear and the jaw, the flowers appear less morbid than simply decorative—a whimsical addition that relies on the soft, ruffled petals to alleviate the hard, polished severity of the skull. O’Keeffe then exquisitely balanced the subtle modulations of the white and gray tones of the skull and flowers with a bold vertical streak of dark brown that irregularly bisects the composition. With the skull positioned against a muted, layered ground in close proximity to the picture plane, the composition conveys a sense of the organic yet abstracted beauty typical of O’Keeffe’s art.
Showing how to assign a moltitude of rhythmic modulations in Omnisphere. It was fun doing some live sound design and get people to see how easy is to create musically rich sounds!
OnLine - The Performance - Premiere - Venice Biennale of Architecture 2014 - Fundamentals, Salon d'Armi, Arsenale, opening day, 7th June 2014, Venice, Italy. Face tracking, clmtrackr portrait leaks. Code modulation by Henner Wöhler.
Blacktron Gold - Listening and Assault Unit
Spacecraft equipped with:
- stereo cockpit
- optoechoic head
- white noise generator
- modulation metronome
- dual megabass cannon
- large aperture antenna with phrase scanning
- dual IR (iridium) jam-session-er
- powerful pro-tone torpedo
- dual frequency Hi-Fi-per sonic missiles
i took this to remember where everything went as i disassembled it to repair a broken VCO modulation slider. but everything is packed in there VERY tightly and soon after this, i chickened out and paid a tech to fix it instead. oh well... works great now!
My cat Anime is nodding off here, but music fans know you can't nap through a show that plays The Fall, Califone, T Rex, Mouse on Mars, Graham Parker, Firewater, and music from the "Return of the DJ" & "Modulations & Transformations" compilations. I mean how does that show even EXIST?
Well, it won't for long, I'm doing my last Can Haz DJ show on Radio Valencia tonight starting early (for me) at 8pm and running until 2am. 6 hours. That's 25% of a whole day! And I still, definitely cannot fit everything in that I'd like to.
I am going out with an extended echoey bang. Playing Jazz, Punk, Rap, Glitch and other Electronica, good old rock and roll, plus New Wave, Dub, country-dust-songwriting-Americana-whaddyacallit, a horde of amazing covers, and a bit of everything else.
Garland Fielder 'Tetrahedron Diptych', 2008-2010, Holly Johnson Gallery, Dallas
Garland Fielder exhibit 'Modulations'
This innovative device offers unprecedented tonal variety and expression for all wind instruments. Using powerful digital processors you can twist and shape your tone for unlimited creativity whether in silent practice, the recording studio, or on-stage performance. The ST5 was designed to work especially well with the Silent Brass Pickup Mutes or with Yamaha MC7 microphone (or similar microphones). A range of 32 high-resolution digital effects including reverbs, delays, distortion, pitch change, modulation, dynamics and 4-band EQ can be used - up to 6 at a time - to alter and enhance your sound. 50 preset effect programs are provided, and memory for 50 user programs lets you store your own creations. The built-in tuner, metronome with rhythm patterns, and phrase sampler, make the ST5 a powerful practice tool. While inputs for external sources such as recordings allow real-time pitchchange so you can play along with any music.
Alain Wergifosse
création/résidence art sonore | Geluidskunst/creatie
Alain Wergifosse, l'ancien Belge des scènes experimentales de Barcelone est revenu chercher sous nos brumes et grisailles l'inspiration pour ses nouveaux projets sonores et visuels. La bas il à travaillé avec son power-trio Obmuz, avec Nad Spiro, Macromassa, Marcel.li Antunez, Cluster, Zbigniew Karkoski, Francisco Lopez et bien d'autres. il à aussi co-organisé les festivals NONOlogic avec Eli Gras et le LEM de GTS.
Il s'installe pendant 6 semaines a la Gare Bruxelles-Congrès qu'il inondera de sons bizarres, d'architectures impossibles, d'ondes radio en très basses fréquences, de microscopies, de modulations lumineuses, d'érosions, de perturbations électro-magnétiques, de quelques dichroïsmes et d'autres abérrations temporaires des champs sensoriels dans une exposition/installation sonore/résidence/atelier en work in progress qui évoluera semaine a semaine pour aboutir le 18 février en un concert bien bruiteux mettant tout l'espace en résonance où Alain Wergiosse fera chanter les trains et flipper les rats.
Alain Wergifosse, Belg die geruime tijd in de experimentele scene van Barcelona actief was, is naar zijn grijs en nevelig thuisland teruggekeerd om er inspiratie te vinden voor zijn nieuwe klank- en beeldprojecten. In Spanje werkte hij met zijn power-trio Obmuz, met Nad Spiro, Macromassa, Marcel.li Antunez, Cluster, Zbigniew Karkoski, Francisco Lopez en anderen. Hij organiseerde ook mee het festival NONOlogic met Eli Gras en het LEM van GTS.
Gedurende 6 weken zal hij het station Brussel Congres innemen en bespelen. We krijgen onbestaande architectuur te zien, microscopische beelden, erosies, lichtmodulatie, electromagnetische golven worden hoorbaar gemaakt. Het geheel is één groot ‘work in progress’ (atelier/tentoonstelling/residentie) dat zijn publiek toonmoment zal kennen op 18 februari in een luidruchtig klankexperiment/concert dat de hele ruimte zal doen weerklinken als een instrument. Alain Wergifosse zal de treinen doen zingen en de ratten doen flippen.
18/02/2016
Photo // Yves André - TOUS DROITS RESERVES - ALL RIGHTS RESERVED
Tel : +32 476 421 267 // yvesandre@gmx.com
I can recognize Alfred Brendel playing Schubert on the Radio long before they announce the performer. This Pianist specializes in Schubert and plays it magically. He plays a Bosendorfer and he generates a sound which is both warm and constructive. He maximizes Shubert's modulations with ease and imagination (almost to mystical levels). How do I know this? because I have listened to Brendel since my teans when he came to my School and played a recital.
Entrance to the Faculty of Letters and Philosphy, Dorsoduro - Venice
One of Scarpa's late works, completed posthumously, it makes use of his signature extruded stepped modulation. The base unit is a 5.5x5.5cm square, which is a consequence of Scarpa's obsession with the number 11.
Garland Fielder 'Untitled' (Steel Octahedron), 2010, Holly Johnson Gallery, Dallas
Garland Fielder exhibit 'Modulations'
Inspired by Maurice Estève - Vermuse (1958).
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www.applicat-prazan.com/en/artists/maurice-esteve/
Maurice Estève - 1904 - 2001
Estève is undoubtedly one of the leading representatives of the first generation of artists that included Bissière, Bazaine, Manessier, Singier and Le Moal and who, after the Second World War, chose non-figuration.
Brought up in the countryside by his grandparents who were peasants, Estève retained from his childhood in the country memories that fed his work. In 1913, at the age of nine, he went to live with his parents in Paris: his father was a cobbler and his mother a dressmaker. A solitary visit to the Louvre had a decisive effect on the boy: he was fascinated by Corot, Delacroix, Chardin and Courbet, and above all by Paolo Uccello’s Bataille de San Romano, of which today he still has a reproduction in his studio. After the First World War, which he spent at Culan, he returned to Paris. His father, unsupportive of his wish to become an artist, found him a position as an apprentice to a furniture maker. Estève began to paint, showing evident talent. In 1923 he spent a year in Barcelona, designing fabrics and familiarising himself with Catalan art. On his return, despite the financial difficulties that were to plague him for many years, Estève devoted himself to his vocation. He attended the ‘free academies’ in Montparnasse (Colarossi at the Grande Chaumière), and above all trained himself by studying the artists whom he referred to as the ‘Primitifs’: Poussin, Fouquet and Cézanne. “Cézanne is the artist who has always comforted me. He makes me want to paint. He indicates the endless possibilities of evolution, gives confidence and opens up horizons; this is a permanent and fascinating encouragement. And what sincerity he has! Part of his greatness doubtless lies in the fact that it was impossible for him to cheat… Each of his gestures over the work is a response to an absolute need, profound, urgent and vital. A saint of painting” (Estève, Zodiaque, April, 1979). He painted landscapes, still lives, interiors and a few portraits in a naturalist style, influenced by the fauves, the pointillists and even the surrealists. Around 1929 he was influenced by the work of Fernand Léger, whose cubist style inspired him to give up the illusionism of traditional painting and explore a purely plastic and inventive path. This was the subject of Couple, with its graded planes that introduced arabesques onto a flat surface animated with bright colours.
“ I never use a sketch, painting directly on the canvas, without a preparatory drawing. Colour and forms find their place… Each work is a series of transformations… ”
He participated for the first time at the Salon des Surindépendants, where he continued to show until 1938.
His first exhibition was held in 1930 at the Galerie Yvangot and attracted the attention of Maurice Raynal, the historian of cubism. In 1933, in reaction to the earlier flat style, he painted forms and colours dominated by green and orchestrated by the play of shadow and light. Around 1935 we note the marked presence of lines in spirals against transparent backgrounds, with a preference for blues and reds. 1936 saw “a brief expressionist crisis”, a consequence of the Spanish Civil War, which brought back to him memories of Catalonia, and “the expressionism changed into hieratic primitivism” (Jean Leymarie, in his preface to the catalogue for the exhibition Estève, Grand Palais, Paris, 1986). In 1937 Robert Delaunay, who was responsible with his wife Sonia for the decoration of the aviation and railway pavilions at the Paris Universal Exhibition, requested Estève’s contribution. This was a period of intimate paintings that show a remarkable control of the summary of the composition in which figures and objects match each other.
Just before the Second World War he found a studio in rue Lepic in Montmartre, and began to draw his subjects from domestic reality. In his painting Hommage à Cézanne (1942), a hymn to colour, he celebrated the still life. One of his works was included in the exhibition Hommage aux Anciens at the Galerie de Friedland, which also included works by Lapicque, Bazaine, Gischia, Tal Coat and Pignon. In the same year he took part in group exhibitions at the Galerie Berri-Raspail with Les étapes du nouvel art contemporain and at the Galerie Saint-Germain-des-Prés alongside artists Desnoyer, Latapie, Rouault and Villon.
In 1943 he exhibited at the Galerie de France with the group Douze peintres d’aujourd’hui, and in Cinq peintres d’aujourd’hui with Borès, Beaudin, Gischia and Pignon. From 1941 to 1944 he took part in the Salon d’Automne.
An exclusive contract with the Galerie Louis Carré (1942–1949) allowed Estève to work on his painting without financial constraints. Two influences predominated during this period: Roman painting, and in particular the work of Bonnard with its spectacle of light and colour; and landscapes, to which Estève returned after abandoning them since 1934, painting from memory or the imagination. He created a chromatic network of lines with a multitude of vibrant strokes.
In 1945 he exhibited with Bazaine and Lapicque at the Galerie Carré (catalogue with an essay by Jean Lescure, Estève ou les chemins silencieux de la réalité).
Then in 1948 the Galerie Carré held its first exhibition of the painter’s work: Trente peintures, 1935–1938, 1941–1947, showing his work again in 1965 with Vingt-quatre peintures, 1935–1947.
Estève was now a respected member of the French contemporary school, and he began to have exhibitions abroad: in 1946 at the Stedelijk Museum at Amsterdam with Bazaine and Lapicque, then in 1947 the same group was welcomed at Copenhagen and at Stockholm (where he had already exhibited in 1937, invited by the Franco-Swedish gallery on the advice of Braque, alongside the latter as well as Picasso, Léger, Gris and Matisse).
Scandinavian interest in Estève’s work dates from this period, and he had regular solo and group exhibitions in the region: we should mention his solo exhibitions in Copenhagen, Statens Museum for Kunst in 1956; in Stockholm, Svensk-Franska Konstgalleriet in 1956; in Copenhagen, Statens Museum for Kunst, with 159 paintings and a catalogue by L. Rostrop Boyesen, in 1961; in Oslo, Kunstnernes, with 150 paintings and a catalogue by A.J. Aas and R. Revold, in 1961.
Between 1947 and 1950 he returned to painting the human figure with the admirable series Métiers. In this cycle, Estève emphasised the profound relationship between the artisan and his tool using a compartmentalised grid in which spirals and lines are arranged using a palette of bright colours that lend a dynamic dimension to the composition. He painted 20 paintings on the theme of Le peintre, Le sculpteur (1947 Donation Estève City of Bourges), Le photographe, Le souffleur de verre, Le tisserand (1948) and Le faucheur (1949). He said that he was a “manufacturer” of paintings and not an artist. “Trades fascinate me. It is in what is achieved by the hand that I find the greatest, the highest sources of wonder” (op. cit.). His paintings demonstrate increasing formal autonomy, and Hommage à Fouquet (1952 priv. coll.) appears in this context as a key work. With perfect control of the palette and abandoning all reference to the outside world, Estève creates his own world, moving towards pure painting and accepting its demands as his only priority. Without disowning the example of the masters, he thought that “painting’s roots in the past also work for its future,” and he wished “to discover an order derived from my nature” (op. cit.) and to be master of every aspect of his creation, to employ Poussin’s expression. Between 1952 and 1954 he tried out this new language in a series of paintings on the subject of the Middle Ages, with tournaments and emblems, popular feasts and legendary beasts: Trophée, Tournoi, Tarasque and Trouvère (priv. coll.). Other titles refer to the world of Islam, with its fables, colour and abstraction par excellence. In these paintings, coloured signs mingle with or confront each other in a perfect balance of forms and colours. Estève wrote about his method of working: “I never use a sketch, painting directly on the canvas, without a preparatory drawing. Colour and forms find their place… Each work is a series of transformations… In fact for me each work is an addition of endless repetitions that last until I find myself in front of an organism that I consider to be alive. Only my sensitivity can tell me whether or not I have attained this recognition… One of the things which characterises me the most is that I do not have any pre-imagined image; no form which I wish to obtain on the canvas. When I begin to paint, an exchange is put in motion, a conversation commences between myself and the painting as it becomes organised… No longer having nature in front of me, nor the recollection of it, I find myself in front of art, of a reality, an object which has grown and which is even more tyrannical than a subject, but at the same time more flexible, obstinate and open” (op. cit.).
For Estève, time is a decisive factor. He speaks of the ‘conversation’ conducted with a work. He applies himself for an hour, then leaves the work, forgets it and finally returns to it again. The sessions are numerous, until the moment when “looking at the work I’ve done, I see that in it that something has been offered to me” (op. cit.).
In 1955 he settled in the neighbourhood of the Jardin du Luxembourg, spending each summer in the Berry. Here he found his roots in communion with his forebears: “I feel them alive in me and I feel myself alive in them” (op. cit.).
Estève worked on watercolours, drawings and collages, where a change similar to the one which occurred in his paintings is noticeable. “In watercolour, there is the transparency of the colour produced by the water which sometimes allows us to see the paper… and I rework the parts which don’t satisfy me. I work with watercolour in the same way that I work with oil – for long periods” (op. cit.). The forms and colours arrange themselves without any apparent intervention from the artist, leaving his role to chance. Fluid colours and strong forms are balanced in perfect chromatic modulation. He makes frequent use of the sponge.
Presented in all the solo exhibitions, the watercolours were shown separately in Paris, at the Galerie Villand-Galanis in 1956 (30 watercolours and 20 drawings), 1958 (catalogue with a poem by André Frénaud) and in 1963 (34 watercolours 1960–1962, catalogue, text by G. Borgeaud); then in Cologne at the Galerie Dom (watercolours 1956–1962) in 1963; followed by exhibitions in 1973 in Paris at the Galerie Claude Bernard (42 watercolours 1957–1972) and Zurich (preface Dora Vallier); as well as in 1978 at the Foire Internationale d’Art Contemporain (FIAC) (1952–1974) and in 1986 in Tokyo (1950–1986).
For his drawings, after 1941 Estève used charcoal, more appropriate for stumps and rubbing, which allowed him to work with every possible shade of grey and black, sometimes highlighted with yellow and blue. In 1960 the Galerie Villand-Galanis showed 100 drawings done between 1920 and 1954. An album was published with a text by Frank Elgar. In 1972 the Galerie Claude Bernard showed 60 drawings done between 1960 and 1971 (catalogue, text by J. Laurent) and in 1984, 50 charcoals and crayons (1970–1983, text by Y. Peyré). With his use of this technique Estève showed himself to be the heir to Seurat. Finally, he worked with collage, with which he had first experimented in 1950, returning again to this technique in 1956, 1957 and 1964. The two important phases occurred between 1965 and 1968, followed by a new series in 1971 and 1973. In 1969, 69 collages from 1950 to 1968 were shown at the Galerie Nathan, Zurich (text by P. Francastel).
As the years went by, Estève’s work grew in grandeur. The rigour of the composition and the robustness of the forms combined with an increasing softness in the use of colour. He stressed the fundamental tones to the extent where it has been said that his palette’s ‘sonority’ permits black and white to act in counterpoint. This saturation of reds, intense blues, greens and yellows induces light, inseparable from form. In endless space, the luminous vibrations provide depth within the two-dimensional work. The vigorous and playful character of Estève’s imagination, inherent in his creative process, is also apparent in his titles, which refer to the painting’s visual character.
There were few solo exhibitions besides those already mentioned: 1954 Lille, Galerie Henri Dupont (11 paintings, 15 watercolours) and again in 1957 (6 paintings, watercolours and drawings); his first exhibition in Paris at the Galerie Galanis in 1955, 30 paintings from 1948 to 1954; this gallery subsequently became the Galerie Villand-Galanis and in 1961 it showed 34 paintings done between 1956 and 1960 (catalogue, text by J.P. Raus). We should mention the exhibitions at the Galerie Benador in Geneva in 1957 (watercolours and drawings, catalogue by J.E. Muller) and in 1960 (27 drawings done between 1926 and 1959).
In 1957 Estève made the stained-glass windows for the church of Berlincourt in the Swiss Jura. He also made a number of lithographs: the first of these in colour were published in 1951 at the Clot workshop and others were made in 1954 at the Desjobert workshop, then from 1955 at the Fernand Mourlot workshop. A series made between 1952 and 1969 was shown at Privas in 1971. Finally, he executed tapestry cartoons (the first of these in 1963) woven by Pinton in Felletin.
The first retrospective was held in 1961 at the Kunsthalle in Basel (catalogue by A. Rüdlinger and J.E. Muller), then shown at Düsseldorf, Kunsthalle (catalogue by K.H. Hering and J.L. Ferrier), the Copenhagen Museum (catalogue by L. Rostrop Boyesen) and in Oslo at the Kunsternes Hus (catalogue by A.J. Aas and R. Revold).
Estève has since regularly exhibited in Paris – showing at the Galerie Claude Bernard since 1972 – and in the French provinces, as well as in Switzerland, Denmark and Luxembourg, and recently in Japan.