After training at the Lille School of Fine Arts, sculpture section, Marc Crépy obtained his national diploma in Fine Arts in 1973. He worked in Carrara, Italy in 1974 and obtained a residency at the Wicar Foundation in Rome in 1991.
He focused on sculpture until the early 2000s. He mainly works with slate, a fragile material with a high mineral density, which he favours in order to question memory, time and origin. Stratigraphic or totemic, Marc Crépy’s sculptures extract from the friable material lines of force whose stability, never assured, is the stake of a gesture of shaping and writing. Present since the beginning of his practice, drawing is today at the centre of his research. The nature of the Pyrenees is conducive to the invention of imaginary territories and reminiscences. Allied to the dynamism of the elements, it traces a new field of experience where the versatility of sensations associated with the lightness of the materials used is preserved in graphic snapshots of landscapes in pieces.
Born in Perpignan (France), in 1947. He lives and works in the Eastern Pyrenees.
Trained at the École des Beaux-Arts de Perpignan in 1967, then at the École Nationale Supérieure des Beaux-Arts de Paris, Atelier Gustave Singier, Gilbert Desclaux obtained his Higher Degree in Plastic Arts, painting section in 1973. In Perpignan, in contact with Michel Bertrand, he develops a research centred on abstraction, gesture, surface and pictorial matter.
By crumpling and trituring the paper material he covers with acrylic or more recently pastel, Gilbert Desclaux makes tactility a material from which he extracts the veins and folds of time.
Born in Marcq-en-Barœul (France), in 1949. She lives and works in the Eastern Pyrenees. Catherine Jansens studied Graphic Art and sculpture at the École des Beaux-Arts de Lille between 1967 and 1971. She was resident at the Wicar Foundation in Rome, Italy in 1999. Her pictorial work is progressively centred on watercolour. She composes her watercolours from modest objects that belong to a collective memory in order to take them out of their daily functions and explore through them a metaphysics of forms.
“One can surely find in my work the symbolism of vanities as one can always artificially attach a work to another work or to a current but this is absolutely not a will on my part. …] After having drawn still lifes and anatomies for a long time, still life has taken over and now occupies me completely. The world of objects is fascinating. Objects live, I sometimes talk to them. Besides, at the term “still life” I prefer the literal translations of still life: still life, quiet life, silent life. CATHERINE JANSENS, interview with Nicole Van Hœke, Curator of the “Silent Lives” exhibition, Palais des Beaux-Arts de Lille, 2001.
Jérémy Louvencourt, born in 1989, lives and works in Paris. He graduated in 2011 with a Higher Diploma in Applied Arts (Toulouse Arena School). He takes part in 2011 in the Road Strip#4 exhibition, an exhibition in the public space, for the Pavillon Blanc de Colomiers. In 2013, he won the SKIN contest set up by Arjowiggins Creative Papers for the creation of a paper mask and the same year exhibited his first drawings at Chécy (45), “L’infini grand ou l’infini petit”. In 2017, he enters the French collection of the “Imago Mundi Art” project of the Benetton Foundation. In 2020, he was a finalist for the “Déclics Jeunes” grant from the Fondation de France, for an artistic trip to Mexico to discover the manufacture of Amate paper. Jérémy Louvencourt invites us to take a look from near or far. From far away, psychedelic forms that could be part of a decoration, a textile or a wallpaper. From close-up, micro-organisms that seem to move, constantly changing position. In the end, one has the feeling that one is witnessing the creation of a world, in the manner of Jens Harder at the beginning of “the wonderful Alpha”.
He explores the boundaries between science and mystical dimensions. Alchemy is a powerful resource in his work, as is the quasi-shamanic aspect of his work. It is therefore no coincidence that the viewer hesitates between microcosm and macrocosm when contemplating his work. The artist wishes to link two universes and make us touch the unknowable.
He is reconnecting with a visual anthropology by drawing on interpretations of the world.
that appeal to animism, shamanism or esotericism. His practice of drawing is linked to the social and cultural history of the southern territories (India, Mexico) which resist
to the aesthetic and cultural uniformity imposed by the colonising European projects. This relationship leads him, among other things, to the search for paper supports whose natural manufacture is part of ancestral practices through which peoples try to
to ensure the continuation of a common territorial culture.
Born in Theillay in 1936, Édouard Trémeau has been working in the Lille region since 1963. He was trained at the School of Applied Arts from 1952 to 1956, then at the École Nationale Supérieure des Beaux-Arts de Paris in 1956-1957 and at the École Normale Supérieure de Cachan from 1957 to 1961.
Close to Narrative Figuration and the Salon de la Jeune Peinture at the end of the 1970s and the beginning of the 1980s – he was vice-president of the salon in 1983 – he took part in various collectives that denounced forms of political oppression and social and economic inequalities such as “imprisonment, the place of women, hunger, torture, ordinary fascism, racism” [Francis Parent, Raymond Perrot, 2016, p.184].
In 1981, during an exhibition at the Pierre Lescot Gallery in Paris, the painter claims to have left his studio to look outside. He then painted scenes inscribed in the daily life of the “early Mitterrand years”, which show man’s anxiety in the face of the society of control, in front of the silent violence that threatens the bodies in a way similar to Façades n°5 (Tout en bon ordre), July-August 1980, acquisition of the L.A.M. Musée d’Art Moderne, d’Art Contemporain et d’Art Brut – Lille Métropole in Villeneuve-d’Ascq in 1983.
Then the retreat to the workshop, nourished by the traces of many travels, succeeded to collective projects which resisted badly to the rise of economic and financial liberalism. His work is then divided into major themes – solitude, confinement, ruin, which open on series: hostages (1982-86), Berlin (1987-89), Zoolitude (1998-2002), Rome (1991-94), Rome outside the walls (1994-97), or many self-portraits that punctuate the years of creation until the series of Gisants “L’évidence” (The Evidence) made from 2006 to 2008.
The painter’s body undergoes a remarkable ” state of affairs “, a remarkable pretext for questioning once again its relationship to the history of art, and recalling ” Andrea Mantegna, Philippe de Champaigne, the two anatomy lessons of Rembrandt, Hans Holbein “.
Haunted by the violence of History, which he couples to the History of Art, Édouard Trémeau paints in confrontation with “biopolitical” time. However, each painting calls for a demanding pictorial technique that dialogues with masters. Considered by Édouard Trémeau as “a great whole”, his gesture makes each of his works a world in itself, even when they are elaborated from a photographic fragment which, according to the painter, brings back a corner of reality, like an exploratory beginning.
Muriel Valat-b already added the mention “plastic arts” to her background when she was preparing for her literary baccalaureate in 1979. Although Khâgne led her to teach French in Austria, a course in art history followed in New York in 1985 heralded the resumption of her studies in visual arts, first at the ENSBA in Cergy-Pontoise and then at the University of Paris-Sorbonne. In 1992 she completed the capes of plastic arts at the University of Paris-Sorbonne, the last academic step before the Berlin rupture.
Muriel Valat-b then set up her studio in Berlin in 1994 in a former factory in Kreuzberg and focused on painting and engraving. She has regularly exhibitions of her work in Germany and has deepened her practice of intaglio engraving, silkscreen printing and lithography in the graphic workshops of the Bethanien Künstlerhaus in Berlin-Kreuzberg.
In 2006, after a diversion to Hamburg, Muriel Valat-b returned to France to Planèzes in the Fenouillèdes, where she continued her plastic research in a kind of retreat.
Since 2016, she has been collaborating in the design and running of workshops exploring the relationship between writing and the plastic arts with various structures and associations. In 2017, she will set up a second workshop in Perpignan and her work will be directed on textiles.
A visual artist, but literature is still very present.
“Some artists work “in music”; I work “in poetry”. My plastic work walks in the company of poetry. A word, a sentence, an unexpected association of words, an atmosphere, inspire a line, a stain, a texture, a new combination of colours, fragments of images, provoke a gesture, an action, encourage an assembly of materials, the discovery of a new tool.
Poetry offers me its audacity, invites me elsewhere and yet gathers me where I am, surprises me, moves me, awakens my perception, puts my mind on holiday, open to the surprises that invite themselves on the canvas, on the copper, on the wood.
In return, a spot of colour, a stroke of eau-forte, a sketch will set off in search of a word, a phrase. An encounter, a dialogue, which helps me to reveal what I don’t see.”
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