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TEXTS

Jean-Pierre Léonardini

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

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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. (...)