Look at the juxtaposition of organic and structured patterns in his paintings and you can see the formal, academic influence of artists like Sean Scully and Phillip Taffe. For materials he adds coffee and burlap into tar-like, black surfaces reminiscent of Anselm Kiefer’s blacked straw surfaces. Like Kiefer, these materials seem to have cultural implications but they are also about the environment around him, tapping into resources directly accessible and affordable, intuitively they become expressionistic. What is often the most lasting effect on the viewer is Le Chevallier use of patterns and symbols working together to create a full and complete impression. Placing stripes next to plant like patterns with sketches of skyscrapers, spheres, body imprints and text along with his color choices all make references to this artist and the places, things, people that have influenced him.
Lisa Thomas
Gallery Director, Franklin Parrash Gallery, New York City, New York
May 1999
-The Threesome Series was inspired by the non-stop beats of techno music, the ecstasy culture, and the energy found at New York’s clubs, such as Twilo, Roxy, and the Tunnel.
Georges Le Chevallier
1999
-These paintings represent the fragmentation and struggle for unity longed for by people living in a fast paced, technologically enhanced metropolis. Le Chevallier incorporates into his work elements from a claustrophobic landscape, the bombardment of visual stimuli, ethnic diversity and the experiences of having lived in many cultures. The work is about “total painting”.
Monica Sosnowiski
Professional Photographer and Guest Curator, AH Space, New York City, New York
Summer 1996
-Le Chevallier is an artist whose relationship to the canvas is an all-encompassing one, like the Abstract Expressionists. He understands that different styles of painting change both how one sees and what one sees.
Steffany Martz
Gallery Director, Steffany Martz Gallery, New York City, New York
July 1994
-He (Le Chevallier) is a painter whose work is exciting, curious, and interesting…His art has been developing progressively and his commitment cannot be question. I’ve had the fortune to discuss conceptually and aesthetically about his paintings and Georges Le Chevallier have demonstrated to be very intelligent, thoughtful and aware about the many critical theories and issues concerning painting and art in general
Juan Sanchez
Professional Artist and Art Professor, Hunter College of the City University of New York
May 1995
-As a result of today’s fast paced lifestyle, people have been accustomed to absorb varied forms of information in a very short amount of time. -The idea of uniting various visual segments into one single artwork stems from the belief that as human beings we are all products of the diverse experiences and emotions we have throughout our lives, which we organize to fit our own personalities. Each person, (the whole) is a package made out of constantly changing ideas, feelings, emotions, memories, and experiences (the fragments). I am taking this contemporary fragmented way of thinking into painting, a field that still mostly deals with a very integral way of seeing.
Georges Le Chevallier
1995
-By virtue of his paintings being ambivalent, he enlists the viewer in the decision making process. Viewers are forced to recognize their need for balance and desire to impose order on their world. Le Chevallier does not do this for us; he forces us to recognize that we strive to make a decision. We tend to see the world in terms of absolutes, and he will not let us.
Kim Weinstein
Writer, The Hunter Envoy, New York City, New York
July 1994
-Even though his name can be misleading, Le Chevallier is from Puerto Rico, and is a young painter who is starting to enter the exclusive and elite New York City art world
Ileana Lopez Aviles
Writer, Caras de Puerto Rico, San Juan, Puerto Rico
November 1994
-Georges Le Chevallier is very aware of deriving material for his paintings from various pictorial sources, and strives to meld them into his painting language. The large scale and emphatic execution of his works speak of his ambition and wholehearted approach to painting.
Thomas Weaver
Professional Artist and Art Professor, Hunter College of the City University of New York
December 1993
