Epoxyhars, glasvezel, inkt - Gesigneerd - 2017
|Titel van kunstwerk:||Untitled, oeuvre comprenant 4 exemplaires|
|Techniek:||Epoxyhars, glasvezel, inkt|
|Totale afmetingen:||30×22×1 cm|
|Verkocht met lijst:||Nee|
These images were made from materials photos taken in the studio of the artist, and then transferred on tinted epoxy resin, in order to restore only a trace, an imprint of the latter.
For Camille Lavaud, drawing is a choice of rigor and freshness, measure and overflow. If it is used actually to support the idea, an expressive concern or an imaginary effervescence, it still keeps a play margin permitting the evocative capacity to remains particularly strong. It is placed under the sign of the reconciliation of various sources, but also welcomes opposing temptations. The energy borrowed from cartoons, movies, history of art, with biographic resonances while digging the track of a movable realism, always in movement, answering the calls of poetic fantasy and also the restitution based on the overlays of registers and variations of tones.
Didier Arnaudet, art critic.
Born in 1981 in Bergerac. She lives and works in a sewing workshop located in a medieval village of her native region, the Dordogne, or sometimes in Bordeaux, in the Fabrique Pola, or in Brussels.
Graduated at Ecole des beaux-arts de Bordeaux.
Visual artist and illustrator, Camille Lavaud, creates comics plates and comic posters, installations, atypical objects, sewing, illustrated books with her drawings and video editing. She is inspired by music, photographs, film posters, novels and films, particularly thrillers. Some of her drawings are published in magazines (Feuilleton, Citizen K...). Her first book, Blocus Solus - in tribute to Locus Solus by Raymond Roussel -, was published by United Dead Artists in 2012. In April-May 2015, she presented the exhibition l’Art de la Mouise in the bookstore La Mauvaise Reputation in Bordeaux. That same year, she created drawings as well as an animated work around the life and the writings of philosopher Roland Barthes for the festival Ritournelles. In 2016, she also worked in graphic design for the new digital platform of Frac Aquitaine.
Influenced initially by the underground and black American comics, her work is also rich in references to French popular culture. In recent years, thrillers and films from the 1950-1960s are nourishing her work. Camille Lavaud's attachment to black novels dates back to her childhood, when she spent entire days around the Dordogne in the bookmobile of her grandfather, drawing, surrounded by detectives and so called cheap novels. She is also influenced by the bright and humorous films of dialogist Michel Audiard and the films of Clouzot, Verneuil, Melville or even Bertrand Blier, whom she admires. Her universe is populated by bandits, prostitutes, murderers and policemen gathered in sketches with as main themes: passion, money and crime. Her drawings, very detailed and with acidulated colours, make up stories, that are often memorable and humorous. At the service of a narrative full of references, the graphic universe of Camille Lavaud is long-winded, excessive, irreverent and fizzy.
The world portrayed by Camille Lavaud is excessive, popular and cheerful, often flashy. In the beginning she created mainly black and white drawings then opting for colour, which she likes energetic and lively, applied in marker or ink. The abundant graphic of each plate or poster, invaded by details and motifs, leads our gaze through the work like following the thread of a narration, a bit like in the medieval paintings.
The Consortium des Prairies (2016) is part of a larger project of an exhibition of twenty posters in Gare Montparnasse (Paris) and Gare Saint-Jean (Bordeaux) in partnership with Gares & Connexions. Eleven of these posters are exposed in Frac Aquitaine. This series started in 2013, during an exhibition in the bookstore La Mauvaise Réputation, with as a starting point the creation of a fictional poster for the film Série noire by Alain Corneau (1979) with Patrick Dewaere. After which she continued creating posters illustrating imaginary films. This would lead to the publication of a book by United Dead Artists.
In this series, each poster is autonomous, working around its own universe and narrative. Starting from the invented title of the film, the artist produced a kind of adaptation and quotation, largely anchored in the field of references to the film and noir fiction.
She then develops posters in standard format, with illustrations to create a
cinematographic atmosphere. Focussing, here, on night-blue tones and dark shades, the atmosphere of these posters is dusky and expressionist. The simulacrum works and imposes itself with consistency and efficiency. The quotes are accurate, humorous, sharp. Accompanying this set of posters, two light boxes are mounted on the wall presenting the fictional film trailer ‘La vie Souterraine’, an installation in a loop of approximately four to five minutes and created from different film stills.
Frac Aquitaine - 2017
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