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LUCIE LE BOUDER

WORKS | BIOGRAPHY | NEWS | PRESS | TEXTS | PORTFOLIO | EXHIBITIONS at 22,48 m² : #9 - #22 - #27 - #29 - #41

 Plan #3, 2013, Cutter drawing on coated paper, 50 x 65 cm


Interview for Paris -Art.com
by Elisa Fedeli
July 21, 2011


This young artist (25) presents her first solo exhibition at the gallery 22.48 m2. Between art and architecture , her work focuses on the in situ to give to see differently the place where it fits .

Elisa Fedeli . You use plasterboards to create installations, autonomous sculptures and paintings. How did you come to focus on this material and why it matters ?

Lucie Le Bouder . I first practiced painting on frame in a classic way,  made by abstract patterns with shapes that overlap. Then I decided to turn these forms into sculptures and to work directly on material. Painting on frame frustrated me . Plasterboard is a poor element , which was used to hide in the architecture. The fact of the exhibit, the highlight , gives it a different meaning. I try to make this material fragile while it is not, it is made  to last in time. Each installation is ephemeral, the material will be destroyed at the end of the exhibition. Since two years, I experiment plasterboards for their surface qualities . I break them and put them in volume. My first installation in plasterboard made  in Tokyo was designed from plates left raw and unpainted . Then I tried to set them differently in volume playing on both sides and color. I use the color to highlight some limitations and to show relief .

Your installations are often designed and made in situ. Tell us about the one you made for the gallery 22.48 m2 and its special relationship with space.

Lucie Le Bouder . Usually, the plasterboard is used for walls, here I build a floor. I wanted to play on the name of the gallery ( 22.48 m2) working from a surface of plasterboard with exactly the same superficy . Then I painted it in gray, the same color as the ground, to hide them . By breaking them and putting them in volume with metal rails , I give the impression that the floor area explodes in the footsteps of the visitor. I try to freeze a rugged and broken architecture. Paradoxically, it is an organized chaos or , so to sum it up , a deconstructed construction. As a living material , the material seems to be struggling in the place, as it is about to run away. We can also say that this is the roof that has fell. Everyone can choose what to believe or see . I try to play with standard things like architectural standards, to transform them to disturb the viewer . In an earlier installation consisting of a polystyrene block , I have reduced the standard crossing by two ( 90 to 45 cm ) . So, to enter the block, the visitor was obliged to rub against this unpleasant material to realize his physical discomfort. I love playing with space, show imperfections and constraints.

You also practice drawing. Your compositions highlight one or more bright. geometric shapes. What are the relationships between your drawings and your installations?

Lucie Le Bouder . I draw random shapes , instinctively . Some forms of my installations inspire me for drawings, which are works around the fragment and the line . What interests me is the experimentation of paper as a material. I do many tests with very different papers to see all the ways it can degrade and tears and how color pass through it. I still impose myself some wisdom because , finally, it could be much more "trash" and aggressive.

What are the different papers with which you work and the effects you're looking for ?

Lucie Le Bouder . I work a lot on graph paper for my research sketches . I recently wanted to use this type of paper for more elaborate and finished drawings. The surface of fragments drawn is only made of lines and I try to see how randomly full and empty take form . Another series is drawn on a " lying on chrome" paper , it is precious, smooth and shiny. As in sculpture, I never know how it will degrade and break , different lines removing the layer differently . The design is never perfect because it is handmade : the features do not have the same standard they overlap or tear the paper. I play a lot with random material . A final series is made on paper "Layout" with TRIA markers, those that are generally used in architecture and design to draw perspectives. I want to expose not only the fronts but the backs to show errors, blunders , overlays and fragments that are added to each other .

You followed before the Fine Arts, a space design training. What this term covers and how it has been able to inspire your current practice ?

Lucie Le Bouder . The space design includes set design, urbanism and architecture. When I arrived at the Fine Arts after a BTS space design , I was able to keep this side architecture that interests me , while incorporating the classic material of the architect - the TRIA pens , box cutters, models - to try to say something else. For example cutter used to cut , and not to draw like I do.

POINT BARRE, 2016
Exhibition views, Galerie 22,48m², Paris

Arase #5, 2016, Steel, varnish, 82 x 67 x 53 cm






Surface en blanc et jaune #2, Stainless steel, spray paint, 195 x 110 cm




Arase, 2016, On-site installation, steel, plaster, variable dimensions


INNER SPACE,
On-site installation, Mains d'Oeuvres, Saint-Ouen, France

Inner Space, in situ installation, Mains d'Oeuvres, Saint-Ouen







Inner Space, in situ installation, Mains d'Oeuvres, Saint-Ouen


DRAWING NOW, 2015
View of the exhibition, Carreau du Temple, Paris, France

View of the exhibition "DRAWING NOW", 2015, Carreau du Temple, Paris, France


View of the exhibition "DRAWING NOW", 2015, Carreau du Temple, Paris, France


CONSTRUCT (TVD), 2015
Cutter drawing on coated paper, 42 x 47 cm

Construct (TVD), 2015,  Cutter drawing on coated paper, 42 x 47 cm

CONSTRUCT (AXO), 2015
Cutter drawing on coated paper, 44,4 x 63,4 cm

Construct (AXO), 2015,  Cutter drawing on coated paper, 44,4 x 63,4 cm

STILL WATER, 2014
View of the exhibition, Galerie 22,48 m², Paris, France

View of exhibition "Still Water", Galerie 22,48 m², Paris, France

INFILTRATION, 2014
Plasterboard, metal rail, water, 300 x 277 cm

Infiltration, 2014, Plasterboard, metal rail, water, 300 x 277 cm
Infiltration, 2014 (detail)

BACK LINE, 2014
View of the exhibition, Galerie 22,48 m², Paris, France

View of exhibition "BACK LINE", Galerie 22,48 m², Paris, France

PLI #2, 2014
Paper, plasterboard, 64 x 44 x 15 cm

Pli #2, 2014, Paper, plasterboard, 126 x 47 x 7 cm

PLI #3, 2014
Paper, plasterboard, 67 x 86 x 9 cm

Pli #3, 2014, Paper, plasterboard, 67 x 86 x 9 cm

Pli #3, 2014 (detail)


PLI #4, 2014
Paper, plasterboard, 126 x 47 x 7 cm

Pli #4, 2014, paper, plasterboard, 126 x 47 x 7 cm





































PLAN #1, 2013
Cutter drawing on coated paper, 40 x 52 cm

 Plan #1, 2013, Cutter drawing on coated paper, 50 x 65 cm

Plan #1, 2013 (detail)


PLAN #2, 2013
Cutter drawing on coated paper, 50 x 65 cm

 Plan #2, 2013, Cutter drawing on coated paper, 50 x 65 cm

Plan #2, 2013 (detail)

PLAN #4, 2013
Cutter drawing on coated paper, 51 x 63,5 cm

Plan #4, 2013, Cutter drawing on coated paper, 50 x 65 cm

PEARL CUTTING #1, 2013
Cutter drawing on coated paper, 21 x 29,7 cm

Pearl Cutting #1, 2013,  Cutter drawing on coated paper, 21 x 29,7 cm
Pearl Cutting #1, 2013 (detail)

PEARL CUTTING #2, 2013
Cutter drawing on coated paper, 21 x 29,7 cm

Pearl Cutting #2, 2013,  Cutter drawing on coated paper, 21 x 29,7 cm

PEARL CUTTING #3, 2013
Cutter drawing on coated paper, 21 x 29,7 cm

Pearl Cutting #3, 2013,  Cutter drawing on coated paper, 21 x 29,7 cm
Pearl Cutting #3, 2013 (detail)

GOLD CUTTING #1, 2013
Cutter drawing on coated paper, 25,9 x 33,4 cm

Gold Cutting #1, 2013, Dessin au cutter sur papier couché sur chrome, 25,9 x 33,4 cm

GREY CUTTING #1, 2013
Cutter drawing on coated paper, 45,1 x 64 cm

Grey Cutting #1, 2013,  Cutter drawing on coated paper, 45,1 x 64 cm

SEGMENT, 2013
Metal rail, spray paint, 128 x 320 cm

Segment, 2013, metal rail, spray paint, 128 x 320 cm
Segment, 2013 (detail)

COPPER CUTTING #1, 2012
Cutter drawing on coated paper, 45,1 x 64 cm

Copper Cutting (#1), 2012, Cutter drawing on chrome paper, 45,1 x 64 cm
Copper Cutting #1, 2012 (detail)

MÉDIUM, 2012
Felt on wood, 60 x 90 cm

Médium, 2012,  Felt on wood, 60 x 90 cm
Médium, 2012 (detail)

SYSTÈME P3, 2012
Plasterboard, metal rail, spray paint, 320 x 250 x 5 cm

Système P3, 2012, Plasterboard, metal rail, spray paint, 320 x 250 x 5 cm
Système P3, 2012 (detail)

ABSCISSES, 2012
Plasterboard, metal rail, 235 x 156 x 52 cm

Abscisses, 2012,plasterboard,  metal rail, 235 x 156 x 52 cm






Abscisses (2012), Vuiew of the exhibition "Abscisses", 2012, Galerie Nicolas Sillin, Paris, France

PRUDENCE, 2011
In situ installation, plasterboard, metal rail, acrylic, variable dimensions

Prudence, 2011, in situ installation, plasterboard, metal rail, acrylic, variable dimensions
Prudence, 2011 (detail)





























 
DRESSING, 2008
Wood, acrylic paint, 120 x 150 x 90 cm

Dressing, 2008, Wood, acrylic paint, 120 x 150 x 90 cm






































 
MILLIMÉTRÉ, 2011
Drawing on graph paper, 21 x 29,7 cm

Millimétré, 2011, Drawing on graph paper, 21 x 29,7 cm





































FEUTRE, 2009/2012
Felt on Layout paper, 29,7 x 42 cm

Feutre, 2009/2012, Felt on Layout Paper, 29,7 x 42 cm
Feutre, 2009/2012 (detail)
Feutre, 2009/2012 (detail)
Feutre, 2009/2012 (detail)
Feutre, 2009/2012 (detail)