Marie-Paule Lesage


née en 1959 à Mulhouse
Etudes aux Arts décoratifs de Strasbourg
Vit et travaille à Olwisheim (Bas-Rhin)

 




Expositions Individuelles

 

2015 : - Artothèque (ASCAP) de Montbéliard avec Odile Liger
2014 : - "Pas de 2" avec Monique Noguier céramiste, galerie l'Escalier, Brumath
2013 : - "Pas d'éléphant" Médiathèque Olympe de Gouges, Strasbourg
2013 : - "Pas d'hommes" L'Evasion, Selestat
2012 : - "Pas d'éléphant" Centre Culturel Français de Freiburg (D)
- "Eléphantesque" Centre Culturel Franco-Allemand, Karlsruhe (D)
- "Art-Karlsruhe", Foire d'Art Contemporain de Karlsruhe
- Etappenstall, (avec Maren Ruben), Erstein (F)
2011 : - Galerie L'escalier (avec Odile Liger), Brumath
2009 : - Médiathèque de Montauban
2008 : - Centre culturel de Flaine
2007 : - Médiathèque de Barr
- Centre de Coopération Culturel et Linguistique de Vientianne (Laos)
- Festival des éléphants d’Hongsa, (Laos)
- Espace des Arts Plastiques Cepagrap, Saint Dié des Vosges

2006 : - Médiathèque de Vendenheim
2004 : - Médiathèque de Strasbourg-Neudorf.
2003 : - Centre de Coopération culturel et Linguistique
de Vientiane (Laos) > Résidence
2002 : - Clinique de l'Orangerie, Strasbourg.
- Résidence au Centre International d'Art Verrier de Meisenthal (Lorraine).
- Maison des Arts (avec Christine Crozat), Evreux;
2001 : - Réalisation d'un livre d'artiste "LESCURE / LESAGE".
2001 : - Institut Français, Freiburg (D).
2000 : - Georg Schultz Hauss, Waldkirch (D).
- Portes ouvertes à l'Atelier, Olwisheim.
1999 : - Espace Sofitel, Strasbourg. (intervention dansée de L.Ziegler
pendant le vernissage).
98/99: - Réalisation d'un livre d'artiste "CHAZAL / LESAGE".
1998 : - Espace Lézard, Colmar. (Intervention du CFMI sur des musiques
de V.Flusser pendant le vernissage).
1997 : - Galerie Marinelli, Strasbourg.
1996 : - Bibliothèque Municipale, Obernai.
1994 : - Réalisation d'un livre d'artiste "UNGARETTI / LESAGE".
1991 : - Galerie du Rhin, Colmar.
1989 : - Galerie La Planette, Grignan.
1988 : - Organisation du "Million d'Images", Strasbourg.
1987 : - Journal Hebdoscope, Strasbourg.
1987 : - Artothèque, Bibliothèque Municipale, Mulhouse.
1985 : - Duo Multiple (avec Bruno Haentzler), Galerie Adéas, Strasbourg.
1984 : - Galerie Adéas, Strasbourg.



Expositions Collectives

 

2015 : - Triennale de gravure en taille douce de Lisle sur Tarn
2013 : - Biennale de internationale de la gravure de Sarcelles
2013 : - Biennale de l'estampe de Saint Maur
2013 : - "Regards d'Afrique" galerie Le Lab, Marseille
2012 : - AKDT 50ans, Palais Abbatial, Saint Hubert (B)
2011 : - Galerie de L'escalier, Brumath
2010 : - Galerie Bamberger, Strasbourg
-"Traversée d'Art", Saint Ouen
-Triennale de l'estampe, Chamalières
2009 : - Biennale de l'estampe de Saint Maur
2007 : - Biennale de gravure de Liège (B).
2005 : - Le livre au risque des artistes, BNU Strasbourg
- Triennale du bois contemporain, Musée de Saint-Dié
- Biennale de gravure de Liège (B).
- Forme A4, Bibliothèque Municipale, Strasbourg.
- Marché du Livre de Mariemont (B).
2004: - "Fenêtre sur....Arlon 2004", Arlon (B).
2003 : - Biennale de la gravure de Liège (B)
- "Arborescences", Redu, (D)
- Marché du Livre de Mariemont (B).
- Triennale Internationale de Gravure, Chamalière.
2002 : - "Paysage-Dépaysage", Académie Royale des Beaux-Arts de Liège (B).
- "Art à tous les étages", Lycée Pasteur, Strasbourg.
- " Entrelacs 2002 ", La Galerie, Staffelfelden.
- " Entrelacs 2002 ", Palais de la Régence, Ensisheim
- 1ère Triennale du bois gravé contemporain, Saint Dié. et Reutlingen (D)
- Biennale de l'Estampe, Thann
2001: - Vème Biennale Europea per l'Incisione,Acqui Terme (I)
- Tribulations cérébrales, Ribeauvillé.
- "Livres d'artiste(s)?", Blois.
- Palais des Congrès, Strasbourg.
- "Strasbourg-Méditerranée"la Laiterie, Strasbourg.
2000 : - La Côte Saint André.
- Livres d'artistes, Auch.
1999 : - "Xylon-France", Schwetzingen (D).
- Atelier André Béguin, Paris.
1996 : - Galerie Marinelli, Strasbourg.
- "Livres différents", galerie Michèle Broutta, Paris.
1994 : - Triennale Internationale de Gravure, Chamalière.
- Martha Stevns Gallery, Fressingfield (GB).
- "Lire-Objet", Strasbourg, Mulhouse; Gand , Bruxelles (B).
1993 : - "Hommage à J.Callot", Epinal et Gênes (I).
- "Xylon-France", Concarneau.
1992 : - "Xylon-France", Oxford (GB).
- "L'estampe du Rhin invite....", Strasbourg.
- Xylon + ", Strasbourg.
- "Ateliers 92" , organisé par la Galerie du Faisan, Strasbourg.
1993 : - "Hommage à J.Callot", Epinal et Gênes (I).
- "Xylon-France", Concarneau.
1991 : - Galerie R.Werlé, Strasbourg.
- "Nature", Galerie du Rhin, Colmar.
- Triennale Internationale de Gravure, Chamalière.
1990 : - "L'homme Heureux" , Galerie du Rhin, Colmar.
1989 : - "Champs I" , Altkich.
1988 : - Salon de la Jeune Gravure, Bayeux.
- "Le Million d'Image",Strasbourg.
1987 : - Triennale Internationale de Gravure, Chamalière.
- "Hors textes, morceaux choisis", Galerie du Faisan, Strasbourg;
Bibliothèque Municipale, Mulhouse.
- "Ecritures", Galerie Oberlin, Strasbourg.
1986 : - Salon de la Jeune Peinture, Angers.
- Artistes Contemporains d'Alsace, Böblingen (D) et Strasbourg.
1985 : - Musée d'Art Moderne (avec A.Greiner et B.Haentzler), Strasbourg.
- III ème Salon de la Jeune Peinture , Angers.
1984 : - II ème Biennale Internationale d'Arts Graphiques, Lac de Garde, (I)

 

Résidences:

2006: Bourse aux projets internationaux du CEAAC
2003: Résidence d'artiste de 4 mois au Laos (CEAAC et CCCL)
2002: Résidence au Centre International d'Art Verrier de Meisenthal (DRAC)

 

Enseignement:

AKDT (Belgique)2003 à 2007
Stages à l'atelier destinés aux adultes travaillant autour de l'estampe (médiathèque, artothèque, patrimoine) et/ou  destinés aux artistes.
Transformation d'un bus en atelier de gravure itinérant pour les écoles ("aquatinte"). Interventions longues dans les écoles et centre culturels (Alsace, Tarn).

 

Collections Publiques:

Bibliothèque Nationale de France, Bibliothèque Fornay (Paris), Bibliothèque de l'Abbé Grégoire (Blois), BNU (Strasbourg), Bibliothèque Départementale du Bas-Rhin, Bibliothèque d'étude de Besançon.
Médiathèque d'Albi, Anglet, Belfort, Bourges, Cergy, Colomiers, Douai,  Evreux, Mulhouse, Montauban, Nancy, Niort, Obernai, Saint-Brieux, Strasbourg, Toulouse, Vendenheim
Artothèque d'Evreux,  Montbéliard, Mulhouse, Strasbourg
Musée des Abatoirs (Toulouse)

 

Scénographies:

Emploi du Temps (Cie Smol-Humour à Tiroirs)
Peng Xang ou le chant de l'éléphant 1 et 2 (Cie Smol-Humour à Tiroirs)
Fichu Serpent (Cie Evasion)

 

 

Textes et Presse


Maurice Mailard : Maison des Arts, Evreux, 2003

Eva-Maria Schumann-Bacia: "Badische Zeitung" du 16/07/2001

Evelyne Loux - Marie-Paule Lesage: estampes, 2000

M.P.Peronnet - "Art et métiers du livre", N° 215, 2000

Marie-Hélène Gatto - n° 166 des Nouvelles de l'Estampes , octobre-novembre 1999

Roland Shön - 1999

Roland Shön - 1997

Martha Stevns - 1994

Roland Schär - 1995

Roland Schär - 1991

Roland Schär - 1987

Bruno Haentzler - 1987



Marie-Paule Lesage

Far from any trace, any effusion of lyricism or expressionism, Marie-Paule Lesage’s engravings explore variations of strict geometry where lines echo surfaces, straight segments justify curves, where solids are full of colour, where colour unveils the material of the substrate, where the white of the page is as much a presence as an emptiness.
Marie-Paule Lesage follows the same paths that twenty-five centuries ago led Thales, Euclid or Heraclitus to discover the poetic order of the world. Her engravings, under the heading of equilibrium, lightness, ‘eloquent silence’ return a true echo to the poetry of the eye.
Repetition is an exercise of the memory. Repetition is insistence. Repetition generates number. High numbers give you vertigo. Simplicity and rigour of process allow Marie-Paul Lesage to capture our attention effectively and to raise in monumental form a protest against blindness and barbarism. Her ‘Memorial for Algeria’, the other aspect of her work, takes account of the brutal reality of the world and sets out to justify the philosopher who believes that aesthetics are the same as ethics.


Maurice Mailard, Maison des Arts, Evreux, 2003

top

 

Halftone duet
concrete art and lyricism : a magnificent exhibition
at the French Institute in Freiburg

 

White gloves are made available to turn pages. The precaution is necessary if we want to pick up the fragile works on paper, the engravings on wood and the etchings that Marie-Paule Lesage, the 42-year old Mulhouse-born artist, has produced as book-objects. Since 1984, she has been using her own press in her workshop near Strasbourg, to print works full of restraint, in the tradition of concrete art, and setting up a dialogue between them and selected texts from well-known lyric poets. A duet entirely in halftones now open for admiration at the Institut Français in Freiburg.
Red like love: the visitor is given the chance to watch a video with poems by the Italian Giuseppe Ungaretti. A joy that you can let explode and fill you with life, which is the meaning of ‘Allegria’, the title of the first of the collection of Ungaretti poems containing lines such as ‘Sleeping – I would like to imitate this country sweetly laid out in its blouse of snow’ (1931, German translation by Ingeborg Bachmann, Suhrkamp 1961). A lyrical quality of great simplicity and musicality – the words of this great Italian poet (1888-1970) which seem to be suspended in air, receive a second expression on paper, in embossed type, woven, in the interplay of typography and in its reflection as though seen in a mirror.
Paper is her medium of choice, and she is linked to it by sensitivity full of lyricism. She forgives it certain imperfections. There is always some quality that undermines the pure geometry of the straight lines, the segments and the circles.  In the reproduction of the porous woody surface of a plywood veneer are born fine lines that resemble raindrops on the white surface of the paper. There is a positive pursuit of blemishes in the geometrical abstraction.
Navy blue like ‘the blue stamp of Mauritius’, the stamp most valued by collectors: this is the second video with poems by Malcom de Chazal, the French language poet from Mauritius (1902-1981). Lyrical brother of the painter Gauguin in his exile in Tahiti, he wrote sentences full of sonority, poetry and simplicity in his ‘magical senses’ (1957).
‘A crystal as round as a frozen snow ball’: these are the words that Michel Mercier uses to express his enthusiasm for the ‘Livre Lescure’, which in its heart contains the texts of 12 ‘Gnomides’ by Jean Lescure, French poet and art critic. ‘As light as feathers’ says Michel Mercier. We can admire texts printed on Japan paper, which bring together in intimacy meaning, colour and image in typography.

And next: 336 traces in blood red suggesting small tombstones or butterflies killed by the pin that imprisoned them, in the ‘Memorial to Algeria’ (1999) in the large exhibition room of the Institute. Here Marie-Paule Lesage expresses herself critically in a work full of allusions to resisting forgetfulness. Traces of memory on white silk paper, traces which become more and more indistinct, the fragile skin which turns up at the corners like a shroud come to wrap them up. In the second room there are small-scale pieces printed on wood and etchings, broken lines, curves. Constructions such as a slanting straight line, which enclose a yellow circle, open circular shapes, segments, squares and triangles touching each other in a dialogue of such lightness that it resembles the spoken word.


Eva-Maria Schumann-Bacia

(French translation by Michel Mercier, English translation by David Beeson. For the original text click here)

 

Marie-Paule Lesage, engravings


Since her early and relatively tormented works studying the themes of  the stomach and the knot, Marie-Paule Lesage’s research on tension and the counterpart to it offered by balance, have led her to an extreme simplification of the ‘knot’ which nonetheless remains present.
All that remains of the stomach, the organism, is breath: a line, a circle, a filled space and a knot around which respiration expresses itself. Shapes become geometrical but tension persists in their encounters: a triangle divides a rectangle, a circle is inserted into a square, lines brush against each other without joining, angles oppose each other. A circle is caught between two fragments of a line which divides the space around it into two equal parts which may be coloured. The colours are as if under tension, unstable. A very light blue or yellow show the white of the paper, an orange that is slightly pink, a green trending towards brown. Fragile, discreet colours, applied in thin layers which play with the fibre of the wood.
This extremely simplified space is one that draws itself: the architecture itself of the sheet of paper, with its corrugated form, sometimes the only form present. An almost imperceptible movement of a plenum and a vacuum, of a repeated breath. Marie-Paul Lesage sculpts breath.
This work on tension and balance is particularly exemplary in books that the artist likes to create in collaboration with poets. Far from mere illustration, her engravings set the breath of the text to music. The Memorial for Algeria uses the idea of a succession of engravings that give the work its rhythm. The juxtaposition of prints of the same engraving and then the duplication of the whole in an impression of the printed engravings, all of them with their infinitesimal nuances, contribute to even greater movement. As each is like a stammered breath, become complex once more in this context, knotted in this way like a tear reminding us of Marie-Paul Lesage’s first works. But through their multiplication and their juxtaposition with the mirror-image impression, the whole redraws a simple architecture, a musical score, like a potential breath, the hope of a breath, of life through this Memorial. The instant is painful but time recreates harmony among what has been torn.


Evelyne Loux

Top

 

Malcolm de Chazal
Marie-Paule Lesage


Nine texts drawn from Malcolm de Chazal’s Sens Magique first published in 1957 are poetic ellipses at the extreme point of agreement between word and meaning. The balance is fine, the strength is pregnant, they lend themselves to writing, to engraving. Working with the poems she chose, M.P. Lesage exhorts wood and copper to take life in nine etchings transposed on to BFK Rives paper. Within each double page of this collection of single sheets, a centred, minimalist text balances and echoes a plate, some of them over-sized. In keeping with all her work, M.P. Lesage uses a set of geometrical shapes to build her formal universe, which she presents as that of a sleepwalker, between two spaces. A quest for balance, of the right line, simple and firm…
‘Are you there?’ says the man.
‘Yes,’ says the woman. ‘Can’t you feel my solitude walking towards you?’
The poem is bound, physically, to night-blue wood by circular corrugations, centred on the double-page spread. As the book progresses, bright red wood appears on a full page for another text.
Each is ‘prolonged’ – metaphorically – by purified shapes and lines, in monochrome red, blue, yellow, grey or sand-coloured surfaces. There is nothing superfluous in the colouring, only the right choice. In this work including etchings and wood prints, corrugations become evocations, mirrors of waves for one of the poems and a ‘crumpled paper’ reflection to suggest silence and sound in another. Some plates in this collection impose themselves as sculptures in weightlessness, defying all physical laws. The engraver uses a prefatory piece, outside the nine double pages, to present an extract from Raymond Queneau’s art of poetry.  It’s a whole programme. The original edition of this work was  produced in 30 copies.

M.P.Peronnet

"Art et métiers du livre""
N° 215 ,( bibliophilie-livres d'artistes)

 

Contemporary engraving: 
Marie-Paule Lesage



Marie-Paule Lesage was born in 1959 and has been an engraver since 1982. She had her training at the Decorative Arts School in Strasbourg, and uses both etching and wood prints.
It is however the latter technique that gives her work its greatest reach. Nineteen wood prints produced between 1989 and 1998 and recently deposited in the Engravings and Photography department of the French National Library prove the point.

If in the early days her work was more oriented towards expressionist approaches, it has evolved through time towards increasing abstraction while leaving plenty of space for emotion. The starting point of each engraving is a feeling. Marie-Paul Lesage’s engravings are an invitation to contemplation, and they express emotion given form, with great rigour. In her simultaneous search for the most appropriate form, Marie-Paule Lesage refuses to take an approach where an image could be repeated to infinity. For her, that would correspond to a refusal to choose and would imply a loss of meaning in her work: since all proposed images would be equally valid, none would be necessary. This requirement is present at every stage of her work: in the selection of form, in the choice of colour and through to the page layout and the printing, which she does herself.

In their highly purified state, Marie-Paul Lesage’s engravings seem to be held together entirely by a line. A line determines their form. Whether the line is cut into wood or, on the contrary, left as a suggestion behind the drawing, it distinguishes void from substance, inside from outside. Far from following any strict geometrical rules, Marie-Paul Lesage’s lines remain completely free, allowing themselves to go into sensuous curves, approximate parallelism or even brief doodles close to writing.  It is in fact that fluidity of line that most astonishes us. Where wood block engraving, as it is perceived in popular imagination, is often characterised by relatively crude lines, here the line, drawn with conviction and ease, seems to meet no resistance.
Beyond the line, on the other hand, the wooden substance of the medium gives greater sensitivity. Colour, applied in a uniform way on non-engraved surfaces, reveals the fine structure of the wood.  Sometimes, the contrast between surfaces more or less saturated with colour gives rise to variations in material. At other times it is the reflection of of light on white paper that reveals corrugations, hidden rough areas that contrast with the smoothness of line. Though the engravings are often monochrome, the colour used is never pure but constructed from the three primaries by delicate blending. So black is seldom a ‘true’ black but is ‘warmed’, almost imperceptibly, by the addition of a little red. And to give a softer tone, a plate may be printed twice.
Careful with colour, because she is aware that ‘the simple fact of changing a colour can transform an engraving’, Marie-Paul Lesage also pays careful attention to the format of the paper, seeking for balance between the printed image and the page. Each engraving finds its own place. And often a large part of the paper remains blank. Then, by a sort of superstition, for fear that all this space could be taken from her, Marie-Paul Lesage signs as far down the page as possible.

It is not surprising, given her sensitivity to page design, that Marie-Paul Lesage is attracted by books. In 1994, she therefore produced a book with Giuseppe Ungaretti where the latter’s poems combine with the engravings of the former. In 1999, she published another book, on this occasion with Malcolm de Chazal. Today, Marie-Paul Lesage is working on two other projects, one with Jean Lescure, the other with Roland Shön which will focus on the theme of face and obverse, one of the essential qualities of engraving.

 
Marie-Hélène Gatto

n° 166 des Nouvelles de l'Estampe , octobre-novembre 1999

 

Marie-Paule Lesage's books

They are books to put on the table of an evening after a meal. Books like wardrobes, noisy with long forgotten silences. Books not made of tight bundles of pages, but of leaves that your fingers unfold like wings. They reveal the mystery of black signs on whiteness. Strokes, spots, letters, scratches, dots, traces, commas, lines, which invite your eyes to relearn how to touch words, how to spell the ink signs that make them up, read the white silences held in their mesh.  Words that have returned to their image state, shapes that express the unsayable.


Roland Shön, 8 mai 1999

 

Our eyes are tired, worn to the core.
Worn, skinned, whitened by these petrified forms,
mechanical, uniform ideas;
also by those shapes without shape, lacking any further will to be.
By these colours, voiceless jungles,
loud vortices with voracious beaks.
By these movements that night cannot calm,
bushes of lightning without rain,
stiff waves that never flow back out.
By this volcano of images.
Our eyes are tired and our eyelids, become too thin,
no longer protect them.
On their screen, the shadows of dreams grow paler.


Marie-Paule Lesage works for our eyes.
To do them good, to plunge them into calm water.
So that they can open again without fear on the infinitesimal world we inhabit.


Her engravings give us back the look that knows how to coil itself in the heart of things,
wonder at the mystery of signs,
settle on traces forgotten by time.


Roland Shön, avril 1997

 

 

Print Show


Marie-Paule Lesage lives and works near Strasbourg (France). She uses geometric shapes in her work, especially circles and triangles, but also organic forms. There is a sense of lightness and elegance about her prints, in particular the ones which use embossed shapes with no or only minimal use of colour. Working in series gives her the opportunity to put the same shapes in new configurations and so create différent fields of tension. The visible structure of the wood plays an important part in her woodcuts and softens the coldness of associating blue and red to a stark green. The artist also presents a limited edition of seven illustrated poems by Guiseppe Ungaretti (1888-1970).

Martha Stevns

 

 

There is a longstanding complicity between Marie-Paul Lesage and poets. And it isn’t simply a complicity of the mind built on reading, but one drawn from the nature of the engraver’s work itself: it teaches us to be demanding, to handle complexity and to master our impatience. In engraving nothing can be left to chance. If our approach is careless, the image will not ‘emerge’. We have to change it perhaps a thousand times, come back to it day after day, let it rest, decant it : the work of an engraver has a great deal in common with that of a poet. Printing proofs is like writing drafts, and finding the right tint for an engraving is like finding the right tone for a line. And then the simplicity of the obvious appears, reveals itself and unveils itself, and transforms work into lightness and work of art. Her familiarity with poetic works protects Marie-Paul Lesage from falling into the trap of simple illustration and interpretation. Text and image communicate with each other, but in radically different languages. Neither is subordinate to the other. The engraving like the poetry is an essential anachronism. They adopt the same attitude towards time, they demand it even, and oblige us to stop and absorb it a moment. Completely inappropriate for rapid perusal, they instead invite us to come again and again, as Ungaretti says in ‘Mandoline tune’,

‘I polish myself
like a marble
made of passion.’


Roland Schär
26.11.95

 

We have just learned that a dot has escaped from Marie-Paul Lesage’s engravings. And yet that is where it belongs and it has been for a long time, but a moment’s distraction in her vigilance was enough for the little fellow to get away. All the circles have been turned over, the lines have been searched with a fine tooth comb: could the fugitive be hiding in the picture itself? The colours are perturbed, the lines are running right and left and creating panic at the centre of the sheet. Curves are flattening, circles and round elements no longer know where to go, because their wonderful balance has been upset by a light but fatal blow, undermining days on end of work (and so close to the start of the exhibition too!). Finding a replacement for the escapee isn’t going to be easy, there are dots and dots, and one attaches so much importance to them, these tiny little dots! Finally, however, everyone is back in place and all this worry, this fright, has barely left a trace: the dot was found at the bottom of a corrugation, terribly pleased with itself at having spent a night out of doors.

Roland Schär

 

Engraving does not accept finger-tip touching. It is demanding, sensual, bewitching, it is either the blossoming of the sense of touch or it is a failure. A meeting point between sculpture and painting, between you and me, or point of separation. A shared path, breathless or quiet, violent or restrained, linked bodies that advance – a lover’s work towards the other person.
Viewing the wood, reading its story, reading the plate: it’s an open page of the tree. Exposed veins are followed or cut, by design or by chance. Surprise: a burst of light, splendid or devastating. We advance with muscles tense, I the horseman, on the wood my horse.
Metal is bitten like we bite flesh: with ardour, with feather strokes. Heat is lodged in the very heart of the metal’s coldness. Cutting mirror, sharpened with each inking, it becomes the traces of repeated caresses, the reflection of your forgotten hands.
The image is a shared memory.


Roland Schär

 
More Articles...
<< Start < Prev 1 2 Next > End >>

Page 1 of 2