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Jean-Pierre Léonardini

Double-page in L’humanité
On the occasion of the presentation of the Price Paul vaillant couturier, 1991

Perhaps the most undeniable proof of her art, is that when we see her small-sized sculptures we immediatly imagine the thing on a grand scale. The search for truth in three dimensions goes through this inviolable law ; there’s no way around it. Monumental sculptures, of course, is a matter of public order. CF has conceived a staggering project for a Memorial to Cyrano (de Bergerac), where we can see an anonymous manly figure, draped in a cloak, holding in front of him, like a double, the figure of a man with a long nose. (...)

Catherine Fourniau tells us : « Any sculpture, whatever its size, creates or modifies the surrounding space. The sculpture therefore must be thought in relationship with its founding space. I like classical and lasting materials because I strongly believe in the specific connection with time that they imply. ». She appreciates this sentence from Michel Seuphor : « Sculpture, because of its own matter, is subjected to slowness hence to thinking. (…) Sculpture is wisdom with an anguished soul. » (...)

Her drawings, even if they often play a propaedeutic role to the statuary, are autonomous in their bearings, expressing with sharp lines on the paper’s void a precipitate of singular sense. Some are not far from the thrifty and resolute synthesis à la Fautrier -for instance. (...)