album distinguished visitors
About Pierre Marie Lejeune .... Born in 1954, Pierre Marie Lejeune defines himself as a sculptor and designer. Fellow of the Villa Médicis in 1983, he spent one year in Luxor. Naturally his focus is to sculpture. His decisive encounter is that of Niki de Saint Phalle in the 80s. Their collaboration, for many years, will only strengthen its approach.
Since then he has continued to develop a repertoire of forms akin to writing a virtual alphabet. Its materials of choice are steel, glass, light and water. Refusing any concession to ornament. Radicalism, rigor and purity of form are common in his sculptures.
In recent years, Pierre Marie Lejeune explained in Mamac (Nice), to the arsenal of Metz, the National Museum of China (Beijing), Metz, Boulogne-Billancourt, Auvers-sur-Oise.
He completed numerous projects, orders and exhibits in Europe (Germany, Belgium, Italy, France), the United States and China, where it is represented by Pearl Lam (Contrast Gallery) which has organized three major exhibitions in 2006 and 2007 in Shanghai and Beijing.
Roaming at t
rave rs Park ... The principle is to make the park itself by creating a trail-ride or fourteen sculptures are represented in eight locations. Each of these steps provides one or more parts. Several of these pieces, created especially situ , sometimes use one or more trees on the site. The material referring to all these pieces is the mirror. According to the sculptor, the discovery of coins in the park does not necessarily conform to a predetermined route, but that the visitor can in-walker will take a side road, a path tangential to lose some of his works and discover more unlikely ... and more effective emotionally.
The mirror makes the park a real defragmented and rebuilt after the light, the vegetation all in a prism to reflect changing and infinite ...
Paradigms, heliographs and parables. E XTRACTS text by Jean-Pierre Van Tieghem : The more mirrors, the more reality, "says Louise Bourgeois. As they are inclined, directed in different directions, no one is watching what the other sees. They transform the images. The spectator who observes the work, along with the space around, between, and is part of the artist's work. A monochrome surface and smooth as some works by Yves Klein and Gerhard Richter, integrates the profile of this person face-to-face. An obvious reflection exists in the work of other artists, as in Pistoletto, sometimes in Buren, Dan Graham and Roni Horn with Opposite of White in dialogue with Portrait of an Image . In the sculptures of Pierre Marie Lejeune, mirror and stainless steel are never empty. They capture the people who pass, attentive or not and despite them.
Another of me, even . The art of Lucas would it be a dangerous game? Love with his own image he sees in a fountain, Narcissus is punished by Nemesis, and drowned in the
s water source. What did he see other than himself? The beauty of her face and close lightning strike. But, fortunately, Lucas does not abandon those who watch. He always puts in a situation, in conversation with his works here in the park, lawns surrounded by vegetation and tall trees that watch over them.
The mirror also suggests a perverse dimension. It is the behavior of the voyeur: watch without being seen. In mirrors and reflections a sculpture, a spectator point of lovers kissing. It is positioned to have all the time the actions of the couple in his field of vision. Thus he turns in single machine monomaniac who quenches his fantasies. the couple feels alone in the world. The two situations have nothing to do with each other. That sculpture is sidekick and matchmaker.
At Tournay-Solvay Park, work continuously reacts to the environment. Lucas does not invite to sit, but to walk, twirl, to capture all the nuances of light, chiaroscuro, season and climate that dress works in perpetual motion. Suns, clouds, rain, constantly reveal new appearances. The sun makes everything burst into stormy scenes between the trees. The clouds that lead to the dream crumbles or becomes nightmarish imperceptibly during the storm. Soaked in the rain, works like bodies dripping with sweat, their faces in tears, the surf waves that turn on themselves.
Depending on where it is located, the viewer feels other sensations that vary continuously. His relationship with the work of great complexity. The sculptures have their own working lives and their happiness, their desires, their griefs, their despair. One has the impression that they tell their existence. And why not that of the artist?
In recent years, Pierre Marie Lejeune explained in Mamac (Nice), to the arsenal of Metz, the National Museum of China (Beijing), Metz, Boulogne-Billancourt, Auvers-sur-Oise.
He completed numerous projects, orders and exhibits in Europe (Germany, Belgium, Italy, France), the United States and China, where it is represented by Pearl Lam (Contrast Gallery) which has organized three major exhibitions in 2006 and 2007 in Shanghai and Beijing.
Roaming at t
rave rs Park ... The principle is to make the park itself by creating a trail-ride or fourteen sculptures are represented in eight locations. Each of these steps provides one or more parts. Several of these pieces, created especially situ , sometimes use one or more trees on the site. The material referring to all these pieces is the mirror. According to the sculptor, the discovery of coins in the park does not necessarily conform to a predetermined route, but that the visitor can in-walker will take a side road, a path tangential to lose some of his works and discover more unlikely ... and more effective emotionally. The mirror makes the park a real defragmented and rebuilt after the light, the vegetation all in a prism to reflect changing and infinite ...
Paradigms, heliographs and parables. E XTRACTS text by Jean-Pierre Van Tieghem : The more mirrors, the more reality, "says Louise Bourgeois. As they are inclined, directed in different directions, no one is watching what the other sees. They transform the images. The spectator who observes the work, along with the space around, between, and is part of the artist's work. A monochrome surface and smooth as some works by Yves Klein and Gerhard Richter, integrates the profile of this person face-to-face. An obvious reflection exists in the work of other artists, as in Pistoletto, sometimes in Buren, Dan Graham and Roni Horn with Opposite of White in dialogue with Portrait of an Image . In the sculptures of Pierre Marie Lejeune, mirror and stainless steel are never empty. They capture the people who pass, attentive or not and despite them.
Another of me, even . The art of Lucas would it be a dangerous game? Love with his own image he sees in a fountain, Narcissus is punished by Nemesis, and drowned in the
s water source. What did he see other than himself? The beauty of her face and close lightning strike. But, fortunately, Lucas does not abandon those who watch. He always puts in a situation, in conversation with his works here in the park, lawns surrounded by vegetation and tall trees that watch over them. The mirror also suggests a perverse dimension. It is the behavior of the voyeur: watch without being seen. In mirrors and reflections a sculpture, a spectator point of lovers kissing. It is positioned to have all the time the actions of the couple in his field of vision. Thus he turns in single machine monomaniac who quenches his fantasies. the couple feels alone in the world. The two situations have nothing to do with each other. That sculpture is sidekick and matchmaker.
At Tournay-Solvay Park, work continuously reacts to the environment. Lucas does not invite to sit, but to walk, twirl, to capture all the nuances of light, chiaroscuro, season and climate that dress works in perpetual motion. Suns, clouds, rain, constantly reveal new appearances. The sun makes everything burst into stormy scenes between the trees. The clouds that lead to the dream crumbles or becomes nightmarish imperceptibly during the storm. Soaked in the rain, works like bodies dripping with sweat, their faces in tears, the surf waves that turn on themselves.
Depending on where it is located, the viewer feels other sensations that vary continuously. His relationship with the work of great complexity. The sculptures have their own working lives and their happiness, their desires, their griefs, their despair. One has the impression that they tell their existence. And why not that of the artist? 
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