Once upon a time…a line: Portrait of Sarah Jérôme
Born in 1979 in Rennes (France) Sarah Jérôme is a visual artist working in drawing, painting and sculpture. Graduated from the “Conservatoire National Supérieur de la Danse de Paris” then from the “École Nationale Supérieure des Beaux-Arts de Paris”, she regularly exhibits her work in contemporary art fairs such as DDessin, Miart, Art Paris, in galleries like Larnoline or Da-End, but also abroad, in Italy at the Doppelgaenger gallery and in Switzerland at Galerie C. She teaches contemporary drawing at the “Atelier de Sèvres” with students preparing the entrance exams of the great art schools.
Sarah Jérôme will participate in the 9th edition of Drawing Room in Montpellier, which will be held from 13 to 16 September 2018, where we will find her works marked by contradictory forces.
How the practice of classical dance, which you have practiced at a high level, influences your plastic creation?
I took this habit of releasing a form of beauty through inflicted pain. The dancer tame suffering, hides it, for “magical” purposes, but there is a tension between these two notions. This discipline taught me one essential thing that I teach my students: “To be free you need rigour, you need discipline. ». Even if I left the world of dance a long time ago, it still lives in me and especially in my creative practice. When I work, my body is committed, invested. My practice is very physical, rhythm and musicality are decisive factors in the elaboration of a work.
Tell us about your creation.
I am interested in contradictions and oppositions. The image carries tensions, suggestions, double interpretations as the evocation of a world that both protects and encloses us. I like this antinomic reading. Form a fragmented body, disturb the eye by changing the scale of certain elements of the drawing, create absurd or incongruous situations. Through the spectrum of the intimate, I question the misunderstandings from which conflicts arise. The images I create are not univocal. Finally, I like to collect incompatible things and we find that in my practice as the mixture ceramic and wax or oil and layer.
You have a real predilection for the layer.
The layer is for me like a dermis, a layer of skin, sensual, smooth and slippery. It is a support which a priori, does not invite to work the oil. By wiping the material, I obtain fluidity and especially light which allow me to make the forms emerge. I build and I dismantle. I recover, I make choices, I withdraw… I divert the primary function of the medium to go against what is expected of the drawing, its decorum.
What are you going to present at Drawing Room?
I will present a recent series “Sequences” from a piece by the german choreographer Pina Bausch. This is an image capture of the piece “Nelken” that I break down and split into several drawings. The focal length is subjective and moving. The eye oscillates between the set, the costumes, the movements, the body details. The whole corpus suggests a crystallized movement.
Then, we will see the series “Collisions”, large sizes on tracing paper.
Finally, the series “Clichés” which is both a form of caricature and a snapshot of everyday life.
In all of my work, I keep this dichotomy between gestuality and calm, action and stillness, positive and negative, while questioning the limits of the image. From a metaphorical, polysemantic, illusory but very real image. An image that reaches everyone in a very personal way.
Portrait of a draughtswoman
If you were a drawing? An erotic nude by Rodin
Your favorite technique? Mud, in the broad sense. Transform this material, shape it, sublimate it, draw it.
The most unusual support? A plate of sauce
“Drawing is like…”? Reveal
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