Anaïs Lelièvre’s unlimited drawing rises from Poush, the first skyscraper filled with artists’ studios
Author: Marc Pottier, Art Curator based in Rio de Janeiro
Article published on August 11, 2020
[Discover today’s artists] Don’t even mention « limits » to Anaïs Lelièvre. The artist born in 1982 doesn’t even know what the word means! Especially since she was one of the firsts to invest in the Poush, the first skyscraper with artists’ studios, where she can count on this inspiring incubator to develop her work. She entrusts Singulars with the springs of her drawings which by the process of digital multiplication, develop her drawings beyond any framework.
GET OUT OF THE BOX AND TOUCH THE CLOUDS
How do you define a work that has no limits, that begins in one place and ends in others like Stratum (from Marseille to Paris)?
Anaïs Lelièvre transforms the ancient technique of drawing into « something else », not always easy to describe: drawn sculptures, explosions of black and white collages, fragments of mineral or vegetable matter?
All her work aims to go beyond the limits of the frame and architecture. By putting her small-format drawings through a digital multiplication process, the artist manages to generate an immersive limitless environment. Without any doubt, her studio located in Poush, the first artists’ incubator in a sky-scrape will elevate her even work more!
Video: Anaïs Lelièvre, Atemoia 4, 2019, Centre d’art contemporain du Luxembourg belge. (silent video)
POUSH, THE FIRST TEMPORARY PARISIAN SKYSCRAPER FOR ARTISTS’ STUDIOS AT PORTE POUCHET IN CLICHY
Manifesto, a cultural coaching company, has just opened in March 2020 (sic) an innovative space dedicated to contemporary creation: Poush, an artist incubator.
In a high-rise building built in the 1970s at Porte Pouchet in Clichy, it is indeed a new « Beehive » which is establishing itself this time in the clouds. Forty artists including Anaïs Lelièvre occupy three floors of the building, with some great personalities to follow (in our opinion): Grégory Chatonsky, Pierre Clément, Paul Créange, Angelica Mesiti, Marie-Luce Nadal.
Video: Anaïs Lelièvre, Silicium, 2019. (silent video)
A « SOURCE DRAWING » WHICH UNFOLDS
« The principle is that at the start of each installation or each series of installations, there is a drawing, which I call “drawing-source” or “drawing-matrix”. Anaïs Lelièvre explains her creative process. This drawing is digitized and gradually narrowed and enlarged, until it becomes the smallest of a point or the line becomes a surface. Everything is printed by photocopier.
“A drawing is thus a reserve, which unfolds in a variety of textures, then in a variety of spaces, because a source-drawing can generate several installations, each time different. I now work on printed PVC in the same way and no longer on paper. “She reveals to us.
Video: Anaïs Lelièvre, Basalte 1, 2019-2020, Islande, Fresh winds in Gardur.
The artist continues to share her secrets with us: « The drawing is always this failed plan. It looks like an engraving but it’s not. It is in this ratio, which shifts from below to above, from depth to surface, from near to far, it vibrates and it lives. Seeking to define differently what is at play, words scribbled and crossed out, covered or covering, overflow and distort, opening up to a non-linear, punctuated and bouncing reading of its lacks. And this attempt at perforation and enunciation which becomes lines, seismic lines, is what makes the drawing remain active, constantly reactivating, in the space of the gaze, its emergence process. »
Video: Anaïs Lelièvre, Coquilles 1, 2019, Centre d’arts Fernand Léger de Port-de-Bouc. (silent video)