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
43