For the ninth solo exhibition of Frédérique Lucien, the gallery Jean Fournier, presents a set of works on paper, the Feuiller , for which Frédérique Lucien resorts to the cutting and the elaboration of geometric and colored frames. "I do not draw on paper but on paper" says the artist while preparing the exhibition.
Since the 1990s, Frédérique Lucien's work has been based on a vocabulary of forms and motifs related to plants, minerals, the organic and the human body. Working in series, Frédérique leads simultaneously several thematic groups: the human body with the drawing, the sculpture and the ceramic, and the vegetable mainly with the drawing and the cut papers. Each of these series feeding the other.
The Feuiller series has been at work since 2012. Invited as part of the Drawing-Tracerproject , Frédérique Lucien went to the Matisse museum in Cateau-Cambrésis and to the Musée La Piscine in Roubaix. The restitution of his visits was first concretized by drawings and cut-outs in notebooks. Then, some pages were published in the Cursive magazine in corollary of the project 1. This series is at the same time nourished with Matisse's drawings and cut papers and the observation of ancient fabrics preserved at the museum of Roubais. It is a fruitful dialogue between two conceptions of the decorative. Matisse's freedom is found in vegetal and linear forms, but also special attention for the applied arts.
The Feuiller is at the heart of an approach where drawing is combined with motifs and where the observation of plant elements is the basis of a reflection towards abstraction.Their title refers to both the sheet of paper as a support but also to the organic sheet. TheFeuiller repertoire consists of cut-out shapes, simple or juxtaposed, empty or full. The cutting of these abstract declensions of elements of organic and vegetable origin, is superimposed on frames. The latter, extremely varied, can be both regular, repetitive, geometric and random.
While Frédérique Lucien's vocabulary is immediately recognizable, this series has radically renewed its relationship with color and we can observe in six years a bold evolution to marry muted colors with more frank ones and to play with contrasts always more alive. The frames have also become more complex with a multiplicity of lines and patterns close to the Art & Craft universe. One can detect there a more gestural aspect sometimes even Expressionist, quite new for Frédérique Lucien.
For this exhibition, she conceives a specific presentation on the large wall of the glass roof of the gallery where mix different formats as did Matisse in his workshop where the cut compositions created an environment constantly redesigned. This form of presentation emphasizes the idea of series and passage from one work to another, it also inscribes the work of Frédérique Lucien in a relationship to space by confronting the scale of the place.