Lucie Duban
LandE scape
CONTEMPORARY ART REVIEW level being the thing I look for to arise in the spectatorship . I don ' t look for a cerebral answer , I prefer to avoid to employ this term “ cerebral ” as it refers to things very defined and tighted-up . While it ' s the contrary where I want to go with the viewer . I believe each one of us is able to interpret and view the same artwork in very different ways , that ' s what makes Art so rich and powerful . So I refuse to “ close ” any road or any sensitive paths by requiring a cerebral answer as a participation .
Also this dreamy quality , which is really the main component of my work , leads , I hope , to reach the inner child , the one who is able to wonder at what is around , the one who is able to reenchant the reality .
This ethereal aspect you ' re talking about , is important for me . I want it to be present in my work as I already have a strong “ line ” ( a way of drawing ) and all that I want is to create a visual background likely to offer an invitation so the viewer take a sort of sensual plunge into this universe .
When we look at Royan , we are struck by the atmosphere suggested by the darkness that saturates the canvass . Is this a reflection of you ? Can you describe to me how this darkness that appears in your work connects to you personally ?
Regarding the darkness that appears sometimes in some of my work , I believe it comes naturally to balance things and to reveal out more colours . It depends on compositions really , but generally I like the idea that you can ' t obtain light without any shadow or darkness . ( like Goya and his famous “ clair-obscur ” for instance ).
And it ' s a general truth to Life , on a physical and spiritual level as well , that nothing good can be created with no previous chaos . Life comes from death and explosion and chaos . Nothing disappears , everything is tranformed . Life on this planet and we , humans , are the very proof of this .
It works the same for painting , I guess .
We would like to pose some questions about the balance established by colors and texture : we have really appreciated the vibrancy of thoughtful nuances that saturate your canvas and especially the way they suggest the idea of plasticity . How did you come about settling on your color palette ? And how much does your own psychological make-up determine the nuances of tones you decide to use in a piece and in particular , how do you develope a painting ’ s texture ?
So on the paint aspect , I use oil because it enables me to have as much transparency and thickness as I want . I can also rework on it after . It allows me more soothness than acrylic . And i love the pigments ' outcome . I like to blend colours into one another . Also thin layers , like sfumato kind of , are great to add some depth .
I actually use colors and forms in order to create texture in some places and in some others , more transparency . I want to keep a plane image , I avoid any clear
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