Unclassifiable artist, Nicole Brousse overcomes all conventions. She sees her work as a journey through time starting from the ancient to the future, but also a journey through the civilizations and cultures.
At the intersection of these pathways, timeless sculptures are born, classic and modern, figurative and symbolic, where the real meets fantasy. One might think that her busts of women come from some excavations of a forgotten temple on an imaginary continent.
Parallel to her artistic development, she works hard on self knowledge, searching inside to affect her sculptural work. She does not yet see the connection between these two journeys but at the base of it, she understands that all is connected, all is complete. Humans in the deepest sense are tied to the universe.
After being warriors and heroines, her women grow, become more serene and more enigmatic. The symbolism and spiritual are found within her creations.
Artiste inclassable, Nicole Brousse s’affranchit de toutes les conventions. Elle vit son œuvre comme un voyage dans le temps partant de l’antiquité vers le futur, mais également comme un voyage au travers des civilisations et des cultures.
Au croisement de ces parcours, naissent des sculptures hors du temps, classiques et modernes, figuratives et symboliques, où le réel rencontre la fantasmagorie.
On pourrait penser que ses bustes féminins sont sortis des fouilles de quelque temple oublié sur un continent imaginaire.
Parallèlement à ses recherches artistiques elle entend mieux se connaître. Elle entreprend alors une quête intérieure, une exploration de son « moi ».
Elle ne voit pas encore de rapport entre ces deux recherches, mais au fil de ses découvertes elle prend conscience que tout est lié, que tout se complète. L’humain, au plus profond de lui même est relié à l’univers.
Cette recherche intérieure influe sur son travail, l’oriente et fait évoluer son approche de la sculpture.
Elle sent alors qu’il s’agit de retrouver l’essence même de la vie à travers ses œuvres en ouvrant grand ses yeux, son esprit et ses ailes.
Après avoir été guerrières et héroïques, ses femmes grandissent, se font plus sereines et plus énigmatiques.
Le symbolisme et le spirituel entrent dès lors dans ses créations.
Tuesday, November 27, 2012
Tuesday, November 13, 2012
Henri Lamy is a french figurative painter, born December 1985 10th. Being used to paint, thanks to his father, when he was a kid, Henri admires Pollock « drip painting » technique (that consists in droping paint from the palet knife he uses, straight to the canvas, or even throwing it).
Seduced by acrylic painting, the quality of his work is enhanced by the sharp and expressive colours of his compositions, abstract when you are close, getting figurative when you go further.
He became part of the 59 Rivoli (old art squat, that now belongs to the city of Paris, gathering more than 30 artists), and currently exhibits in Beijing (in collaboration with Coral Contemporary Art), Co-Existence, and Fei Gallery.
Henri's artworks can be found in Lyon, Paris, Beijing and Manila.
Paris: BJ Art Gallery
Lyon: Gallery 22 (website under construction)
Aix en Provence: Hotel de Gallifet
Beijing: On Gallery
Manila: Alliance Française
Henri Lamy own website
Tuesday, November 6, 2012
A painter today can ask himself what sense is there to paint in figurative manner especially now when the photo has taken the role of mimetic representation of reality. This reflection leads inevitably to another: what is the ultimate meaning of artistic creativity? One day I heard from the writer and filmmaker Alejandro Jodorowski that when he was in a period of crisis after many dramatic inner doubts, he arrived at the conclusion that if an artwork has no therapeutic power then this is not art. Twenty years ago I even arrived, intuitively, at a similar conclusion when in the metropolitan museum I found myself in front of a Rembrandt, one of those paintings made in the last years of his life. The work, done with few and energetic brushstrokes, impressed me so violently. The profound effect that it had on me was to completely overturn the perception of reality.
Perhaps one of the deepest meanings that can be found in art lies in the ability which a painting, a book or a composition has to precisely change the perception of reality in a way completely cathartic and shocking so as to create a beneficial earthquake internally capable of carrying a beneficial rediscover of themselves. It is precisely in the creative process of painting that the artist can find an expressive way, while respecting the representation of the image, which goes beyond the image, in order to catch the silent secret hidden behind reality. The brushstroke can create layer upon layer, the thickness of a trunk of a tree, the fullness of a body, just like the slow action of a river confirms the particular form of a bank, like the action of the wind can blunt the form of a rock, as the action of rain refines the contour of marble. And it is in these moments that the artist as a crazy gambler can grope to grasp an encrypted code of life hidden behind the simple visual image.
THE ONEIRIC REALISM The matter in hand is neither an ascetic retiring into a separate mental order nor unconsciusnedd, indifference. We should rather talk of a purification need, a painfull evocation of the world nullity wich vomits unaware witnesses both protagonists and spectators. In other worths, Leibnitz''s monads, arboreus and serial human kind, whose members appear separated by a flowing, discontinous space. Some critics define all this "oneiric realism".
THE FOURTH DIMENSION As to his technique, Riccardo Rossati shows a wide variety of solutions but he definitely prefers oil on canvas which he needs to attain the tridiensionality of a virtual sculpture. But what he really aims at is the secret sphere of feelings and thoughts digging through his now rugged now smooth surfaces. It''s the fourth dimension. His purpose is both an ethic and aesthetic "telos" destined to make life more bearable. Instead of sticking of fierce loneliness, Riccardo Rossati''s message keeps dominated by an unappeasable need of human interlocution.
Elio Del Giudice Pellegrini, 2007