Artists

Farida Le Suavé’s sculptures breathe. Inevitably, their very skin colour and softness of touch provoke associations with the body, with things organic and sometimes bring to mind a receptacle – the body as a vessel with orifices appearing here and there. Strata of ‘flesh’, of clay, rise up like an amorphous embryo would, multiplying from almost-nothing. The shapes thus created are generous, toned, wrinkled – carried by a breath, even out of breath, barely standing… These artworks present flesh as a territory, as something quite apart, an identity that is independent, autonomous. The work is all too human as it incarnates contradictions, from caress to destruction, from flesh as a playground, a place of comfort, to flesh abandoned, reduced to nothing more than a cry of despair. Looking for other flesh (Enlacé, 2019 – Embraced/Intertwined, 2019) or a vehicle that activates impenetrable links between micro- and macro-cosmos (Coup de foudre, 2019 – Love at first sight/Flash of lighting, 2019), in Farida Le Suavé’s works the flesh also strongly expresses the indeed very complex register of desire, as in Deux pots (Two pots) (2005) a paraphrase of Bernini’s Daphne and Apollo.

Céramique – 90 artistes contemporains

Pyramyd editions – 2019

Authors : Véronique Petit Laforet et Charlotte Vannier

Formes vivantes – Exhibition catalog

Co-edition Cité de la céramique Sèvres & Limoges and Silvana Editioriale – 2019

Farida Le Suavé – Atelier

video – April 2020

Pipaluk Lake’s artworks evoke an enchanting world from here and elsewhere: Sometimes a world of ice, sometimes submarine depths, sometimes the air, the wind. Each sculpture tells the journey of the matter – glass and metal – that the artist assembles according to methods borrowed from textile, weaving and copperware techniques and then leaves to the forces in the kiln. Glass melts, unfolds, stretches, tints itself. By stopping the process, Pipaluk Lake suspends the movement, thus creating undulating sculptures that defy gravity.

Didier Boussarie delivers an account of life, a most refined lesson in perceptivity…The motifs can vary – landscapes, bodies, insects – but the real subject is the desire to see, to understand, to feel, to caress with the gaze in order to retain the elusive, if only for a moment. Dynamism and movement cohabitate whilst recalling the ephemeral in all things living; no recourse to the spectacular here, it’s the appeal of the suggestion, the insistence of the stroke which searches and searches further still, giving strength and sensuality to the subject. In front of Didier Boussarie’s works matter comes alive. Matter is experimented with as much for itself as for its qualities of texture, colour, light and density – sometimes this is the idea sought – as above all, matter is used to create forms.

Lene Bødker’s artworks find their origin in the humble and fascinated contemplation of the living. Their contained shapes vary from geometric rigor to organic curves – from the rational to the sensual. Nature, bodies, architecture and sciences join and merge in the artist’s work.
Lene Bødker works with glass in density, treating the surfaces with dexterity and in a way that sometimes casts doubt on the nature of the material used. She traps light in the mass of her works and lets it filter discretely, subtly exploiting volume and colour.