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"Picto - Arc-Bug - etc. ..." Mirrors & Steel - Pierre Marie Lejeune

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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?

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Trees ...

By Simon du Chastel: The first tree that covered part Earth is our ever present, faithful. To us to follow.

It is not design more widespread than the living cosmos symbolized by a tree: the oldest art, myths, legends of the most diverse peoples evidenced in profusion, as they have for millennia.

The tree is both vertical, growth in the sky, the earth's axis toward Polaris, the perpetual regeneration, place of passage from life to death that produces a new life. It spreads by seed. In cosmology, we celebrate the three cosmic zones: the roots, underground, pushing down and eat a wide variety of substances from the earth, the trunk is the vertical area, such as that of man, monkey righted the branches is an expansion to the sun, sky, clouds engorged with water that it captures. This thought, which the base is the vital circulation between three poles, is the foundation of the Christian Trinity and the dialectic of Hegel.

The tree is also full of birds that are central to our relationship earth-sky, insects and animals, the serpent, symbol of fertility and healing, and that since time immemorial. Therefore, when talking about the tree, the images used are those of the tree of life, science of good and evil, also known as family tree, tree of Diana, Saturn, Jesse, Christmas and more recently, the tree of liberty. The tree is also nourishing, fruit, and exotic countries, it is breadfruit tree, milk, incense, wax ...

The verticality of the trunk of the tree was used to build shelters and became our first column in the marquee representative of plants in Egypt who built temples in places like rituals such as the hill, the mound, the cave; water is often at its source, stones confined space and, of course, the tree of life was present. The tree creates the forest and wherever moisture reign implanted forests. In the past, these forests had an uncontrolled expansion, were formed of timber and underbrush who preserved and made them impenetrable, as is now the rainforest.

In imaging, the forest plays a dual role in all civilizations: it appears first as a place of meditation, introduction to the hermits and monks, a place of refuge and mystery stories, which creates and legends which has in mind the Little Red Riding Hood, Merlin the Magician, Tom Thumb and other characters from books such as that of Perrault, but the forest is also seen as a den full of threats because it is easily lost and once, they could fall into the hands of robbers, thieves large paths, eager to plunder and ransoms.
Nowadays, if the robbers were gone, the power of regeneration of men through the forest remains intact: it is all said that the forest areas around regress. The forest continues to play an essential role: it marks the seasons, the area of reunion and healing, for through the rhythms and cycles of the forest, man finds peace, harmony and learns to name things well.

Historically, the forest has captured the imagination of artist who uses her as "raw-wood" as his mind.

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Philip Docte

His lifelong friends, his materials are basic tree and wood. Wood is a basic fidelity to him: he likes the lightness, flexibility, life, the indomitable character but also the hardness. The wood itself offers all possibilities including that lend themselves to the dye, "we really do not dominate, it continues to move and there is no grip on the material, there are surprises, including patinas obtained with the experience. Exposed to air, oxidizes a sculpture untreated. Even if one uses a dye, the fiber remains apparent. I like working wood freshly cut, wet "which eventually it enhances the texture with natural dyes, eg Annatto. Philippe Docte is absolutely passionate about the woods because "It is a material close to the man: he was born and raised and then dies, it follows the same path as humans." The tree is also the gateway for him between earth and sky. Sometimes the iron works in the carvings Philippe Docte: both materials retain their own individuality, do not interpenetrate. Iron, more often serves as a support, Structure executive but remains secondary. In any event, Philippe Le Docte go directly to the size of assemblies rather rough sometimes removable parts, a double thought the anime: the occupation of space by work that includes human as reference material. The apparent imbalance it creates is a query to be, even when using the vertical reassuring, it splits into paradox: thus he creates a tripod, three triangles on their points not on their bases. This duality gives rise to a combination of strength and fragility.