#Once upon a time, there was a line! Marion Charlet
From everyday places to lost paradises, from common places to timeless spaces: Marion Charlet’s drawings lead us to a fantasized reality. Born in 1982, a graduate of the Institut supérieur des Arts Appliqués de Paris, the Chelsea College of Art and Design in London and Villa Arson in Nice, Marion Charlet represents in large-format drawings a lush nature with bright colours but whose disturbing atmosphere, devoid of human presence, destabilizes the emotions of the spectator. His compositions in superimposed shots, with cinematographic framing, linear features and luminous palette were awarded the Art [ ] Collector’s Prize in October 2017.
Marlène Pegliasco: What is your relationship to drawing?
Marion Charlet: I use drawing as a more intimate means of expression, both in the way I treat them and for the viewer, the formats of my drawings do not currently exceed 100x80cm for the older ones.
Due to their formats, they may seem less “spectacular” than large formats. I use the white of the paper as a breathing zone; whether in colour (gouache/watercolour) or graphite. I usually draw standing up most of the time without moving almost statically. It’s a real moment of calm in the workshop.
M.P.: How does it feed your practice?
M.C.: This serene practice feeds more and more into my painting. It makes it possible to isolate a subject, to work it more deeply. This often gives more flexibility later on in my paintings.
M.P.: What are the aspects of your compositions?
M.C.: I work on the drawing either in colour (watercolour/gouache) or in black and white with graphite pencil. It depends completely on the subject and the vision I want to give to the drawing. I give myself the freedom to choose. For example, for the series “Glassbox” which represents 6 drawings referring to a mirror set, I preferred to use simple graphite pencils. Indeed, some of these drawings represent mountains, a reflection in a canopy, a snowball…. This was more accurate in relation to the purpose. For this purpose, I used pencils from the leanest to the greasiest in order to bring out contrasts and to reveal areas of white, areas of unspoken. There is a desire for romance and contemplation in these drawings that do not require colour. It’s a choice on my part.
On the other hand, for watercolours and gouaches in colours, what attracts me are above all various dialogues between colours (Japanese gouache which give me a good rendering close to painting); between more opaque (gouache) and more transparent areas (watercolour). These drawings take up all the space from the format to the edge. The format is often almost panoramic, so I keep this idea of zoom/camera framing.
Portrait of a draftswoman:
If I were a drawing: a watercolour by Peter Doig, “Friday 13th”.
Preferred technique: rather several, gouache, watercolour and graphite on paperThe
most unusual support: my skin, because I sometimes use felt and start drawing directly on it if I don’t have paper to hand.
“Drawing is like… “: to fly above a cloud. Knowing how to change direction like an airplane without changing course.
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