The open layout of Chartreuse offers generous space for viewers to contemplate each work individually without distractions. It doesn’t take long for one of the paintings to directly confront viewers as they enter the gallery. With a dark palette of ink washes and loose brushstrokes, the somber painting sets the tone for the rest of the exhibition. Almost all of Thibault’s figure paintings reside on one wall, with one or two in the back, while her plant paintings are separated to another part of the gallery.
Thibault’s crowd scenes are evocative of the city scenes of German Expressionist artist Ernst Ludwig Kirchner, whose reaction to the portentous rise of modernization and urbanization culminated in his paintings of distorted figures roaming the streets of Berlin at the turn of the twentieth-century. But while Kirchner’s figures confront their environment and the viewers, Thibault’s figures are passive, not even aware of their surroundings or of each other. Thibault renders their loneliness, or rather the loneliness of our technologically infused twenty-first century existence, palpable with her riveting ink paintings.