en-visagés Bargemon - Juillet 2009

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1 en-visagés Bargemon - Juillet 2009

2 en-visagés Je pratique les ar ts plastiques par des biais détournés depuis une vingtaine d années mais, de plus en plus passionnée, j enseigne désormais à mi-temps pour mieux me consacrer au dessin, à la peinture et à la sculpture. Peu à peu, j évolue dans mon travail de recherche qui tourne autour du corps en mouvement ou en proie à une grande expressivité : il s agit pour moi de l accouchement d un geste ou d une émotion, processus libératoire qui tend les muscles et crispe les traits. J aime célébrer le corps qui exulte : le talon qui trépigne des danseuses de flamenco, le visage tendu vers l impossible du jongleur, le cri libératoire Tout est prétexte à saisir le mouvement, à sublimer la douleur, la passion. Mes dernières recherches picturales portent sur le visage, concentré d émotions humaines. Elles prennent deux orientations différentes. D une par t, je travaille à une série de por traits expressifs de personnages publics que l on pourrait qualifier de «gueules» tels Serge Gainsbourg, Mick Jagger, Jack Nickolson, Alain Bashung,.. Des personnages complexes qui jouent au grand méchant loup ou questionnent aisément les limites de la raison. La recherche de la ressemblance avec le modèle n est pas ma priorité et je ne me définis donc pas comme une portraitiste. Elle existe tout de même plus ou moins et peut induire une connivence avec le spec tateur. Mais c est un fil ténu sur lequel je suis en équilibre. Ce que je veux saisir avant tout chez ces passionnés, c est leur propension à mordre ou à griffer. Leur façon d être en marge, de jouer avec les frontières du vivant. Je crois que mes modèles sont des extrémistes à leur façon. Des poètes de l ombre et de la lumière. Des avides, des provocateurs. Je travaille à partir de photos d artistes dont la qualité est telle que la répercussion de l onde de choc est possible encore. J entre dans l arène des visages et je me fraye un chemin, j éclaire un chemin parmi d autres. D autre part, je m intéresse à la thématique de la vieillesse, chez des anonymes cette fois-ci. A ces corps parcheminés dont on n autorise plus que le visage. Ces corps qui s autocensurent et n osent même plus se regarder dans le miroir. Que raconte la petite fenêtre qu est le visage des plis et des creux qu il réprime sans cesse? Je veux rendre hommage à toute cette matière paradoxale qui chute et se cabre, aux visages résignés ou allumés encore, à tel point que l enfance s y profile avec toute son espièglerie. Parfois, «mes» vieux crient comme des nouveau-nés ou se trémoussent comme des gosses. Tout peut toujours commencer. Plus attachée au graphisme qu à la couleur, je peins de manière très spontanée et gestuelle pour traduire l énergie propre à chaque visage, avec ses tensions et ses incertitudes, ses lignes de force et ses non-dits tout aussi constitutif de l identité de la personne selon moi. L encre et l acrylique - au potentiel plastique étendu - se prêtent bien à la vivacité de mon geste : ce sont donc les médiums que j utilise actuellement, en n hésitant pas à avoir recours à des collages divers et à des effets de matières. Bref, je voyage, de visage en visage.

3 en-visagés I have been practicing the plastic arts from various angles for twent y years but, more and more passionate, I am now teaching half time to better devote myself to drawing, painting and sculpture. Little by little, I move forward in my research, which revolves around the body in movement or caught in a moment of ex traordinar y expressiveness: it seems to me like witnessing the birth of a gesture or emotion, a liberating process which results in tensed muscles and contorted expressions. I love to celebrate the body that exults: the stamping heel of the flamenco dancer; the tense face, aiming for the impossible, of the juggler; the liberating cr y... Ever ything is pretext to capture the movement, to illuminate the suffering and the passion. My latest pic torial research is on the face, the visage, where human emotions are concentrated. It takes two different directions. On the one hand, I am working on a series of expressive por traits of famous figures such as Serge Gainsbourg, M ick Jagger, Jack Nicholson, Alain Bashung, complex charac ters that play to the Big Bad Wolf stereotype and nonchalantly challenge the limits of the reasonable. My priority is not to achieve a likeness of the model, so I don t qualify myself as a por traitist. The likeness is more or less there, and it can produce a sense of collusion on the part of the spectator. But I am balancing here on a thin wire. What I want to capture first and foremost among these objects of fascination is their propensity to bite or chafe, their tendency to be at the margins, to play with life s boundaries. I believe that my models are ex tremists in their own way. Poets of shadow and light. Enthusiasts, provocateurs. I use select photos of the artists, ones in which the shock of impac t is still possible. I enter the domain of the visage and pave my way, illuminating one path among possible others. On the other hand, I am interested in the theme of oldage, this time focused on anonymous people; in these parchmented bodies, where only the face is offered for view ; in these self- censored bodies, which no longer dare to even look in the mirror. What is revealed by this small window, the face, with its folds and hollows, constantly concealed? I want to pay tribute to this paradoxical material that rises and falls, to faces that are resigned or once more lit up, so that the impishness of childhood is again revealed. Sometimes, my elderly people cr y like babies or fidget like kids. Everything can always begin again. More interested in graphics than in color, I paint very spontaneously and I try to translate the self energy of each face, with its tensions and uncertainties, its lines of force and its silences, all constitutive for me of the identity of the person. Ink and acrylic and potentially plastic as well lend themselves well to the liveliness of my gestures. These are the mediums that I currently use, without hesitating to also employ collages and other materials for effect. In summary, I travel, from visage to visage.

4 Le fauve (Mick Jagger) (60x90 - Technique mixte sur toile) Gainsbourg (50x60 - Technique mixte sur toile) 2

5 Quête rouge (Keith Richard) (60x90 - Technique mixte sur toile) Regard turquoise (Béjart) (60x90 - Technique mixte sur toile) 3

6 Quête rose (Keith Richard) (50x60 - Technique mixte sur toile) Sur l écorce (Nicholson) (50x70 - Technique mixte sur toile)

7 La nuit je mens 1 à 4 (Bashung) (40x40 - Technique mixte sur toile)

8 La Marocaine (50x60 - Technique mixte sur toile) Frida (50x60 - Technique mixte sur toile)

9 Le Touareg (55x46 - Technique mixte sur toile) Sous le soleil (hommage à Ousmane Sow) (50x61 - Technique mixte sur toile)

10 L oeil bleu de Marie (46x55 - Technique mixte sur toile) Marie a blanchi (46x55 - Technique mixte sur toile) Transparence (30x40 - Technique mixte sur toile)

11 Relief (50x65 - Technique mixte sur toile) Le ciel est à moi (60x90 - Technique mixte sur toile)

12 Gnome Picasso sans maître (Picasso without master) Tu es si dense en ton royaume que tu pourrais rouler longtemps, comme un caillou gourmand. Petit homme planète, petite patate emportée par son éclat de rire. Cosmos Tes lèvres retiennent ce que tes yeux babillent : tu sais que tu sais, et tes certitudes s allument avec l évidence d un ciel étoilé. Corrida Tu as le sourcil impétueux du taureau qui n hésite pas, et ton aura fluo te projette vers l avant, irrémédiablement. Dans l arène du devenir.

13 Picasso sans maître : cosmos (40x40 - Technique mixte sur toile) Picasso sans maître : gnome (27x22 - Technique mixte sur toile) Picasso sans maître : corrida (50x50 - Technique mixte sur toile)

14 Picasso sans maître : ruche (60x80 - Technique mixte sur toile) Picasso sans maître : graff iti (50x60 - Technique mixte sur toile)

15 Ruche F l a q u e a l vé olée que le reflux de ton sourire a laissée J e m i m m i s c e dans l espace de ton génie tandis que ton œil rond bourdonne, tout au milieu. Insatiable. Graff iti Vous voilà libres yeux, bouche, joues, Attributs du génie convoqués sur la toile, dilatez-vous, dérivez franchement à la périphérie de ce visage qui ne demande qu à être affranchi de lui-même!

16 A vivre! (50x50 - Technique mixte sur toile)

17 Sommeil d encre (50x65 - Encre de chine sur carton toilé)

18 Christel LELEU - FERRO Place de l Eglise Saint Paul en Forêt (France)

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