A drawing… A line! Meeting with Lucie Picandet
Philosophy, theology, aesthetics: the academic career of the artist Lucie Picandet, 37 years old, is rich in a body of knowledge that feeds a unique and multifaceted conceptual work. A work in which writing occupies a primordial place for this artist who writes new fictions or invents words that she then illustrates. Nominated for the Drawing Now 2019 Award, Lucie Picandet creates embroidered drawings, a way to penetrate the heart of creation, manipulate matter and reveal two double-sided drawings, two essential components that cannot be separated. Lucie Picandet questions identity through memory and is interested in language, how to transform it to acquire new states of mind, new ways of working with it and how to put her new words into images, like her “Invented Words”. An organic work, regularly visible at the Vallois Gallery in Paris.
Marlene PegliascoCould you retrace your journey?
Lucie Picandet : I started with theology studies and then got my DNSAP in 2007followed by a Master 2 in Philosophy in 2010 then a thesis on cinema that I defended three years ago. At the same time, I am the author of short stories and unpublished poems.I make works on paper in watercolour and I practice sculpture and video. Soon, I’ll switch to acrylic
M.P.: How would you define your work?
L.P. : On one side is the image and on the other is the text. It is a question for me of making them join not in illustration but in a dialogue where each one advances the other.
M.P. : How does drawing impact the rest of your artistic production?
L.P. : Precisely, if drawing (which is more and more painting) advances on one side, it pushes me to write even further on the other. It is an accordion operation. For each image there is a text, poem or story. Nowadays the image part goes further but for a long time it was the literary part that took precedence.
Portrait of a draftswoman:
If you were a drawing: One of those drawings you make with your eyes when you look at a plaster wall or a cloud… Shapes that appear in front of us while they are in our heads.
Your favorite technique: I don’t know them all. I use gouache and watercolour techniques, sometimes I draw with a pencil before but this is rare.
The most unusual medium: the canvas of my conscious dreams. I have dreams knowing that I am dreaming. So I choose everything and it goes very, very far. It’s a lot of fun!
“Drawing is like”: Dreaming. You can forget what you do when you draw. We can dissociate. Not always, not when you want it to look like something. But when you barely think about it like when you’re on the phone, the pen becomes the extension of divagation.
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