17.10 – 24.11

Brigitte Pénicaud

How do I exist in the earth?
It is the quest for a free, intimate relationship between form and colour.

Body to Body.

Everything is in the movements, welcoming what happens, being in the state of “not doing”, working with accidental happenings, causing them, emptying yourself, allowing yourself to be led by the material and the colour. The blank pages, putting your mark on them, letting the brush at the end of my arm, my hand, and my fingers run away with itself. I don’t decide anything, I suggest.
This is my journey; in the magnificent, chaotic skies; in this garden, in everything around me; my eyes wide open.
An invitation to dream.

Jean Guillaume

Jean Guillaume gives his sculptures only minimal features in order to create a story. So they are figurative, although the women, men and animals are not represented in a realistic way. Their bodies are simplified and sometimes tend towards geometric volumes with no decorative motifs, not overly colourful and with no unnecessary details. They either stand up straight, proud and motionless, or they are in motion, predominantly in a strange equilibrium. As well as Jean Guillaume’s personality, another characteristic of his creations is humour that often comes from puns and jokes, which he translates into clay by assembling shapes of various sources, body parts, objects whose function has been changed. Previously, he gave life to everyday objects such as cooking pots with faces popping out from under the lid like spies, or walking pitchers, running on two legs. In the absence of precise clothing, hair or expressions, the viewer’s imagination finds a space to fill these in, as well as the quest to find an explanation for the situation that is presented. Jean Guillaume often takes the torso away, thereby creating moving characters made up of active feet, legs and hands, or simply a head on its feet. There is nothing horrifying about these mutilations; these new beings are peaceful and much less terrifying than their illustrious ancestors, the works of Hieronymus Bosch.

The man with a bowl on top of his head balancing on two legs that are hanging from the place where his ears should be, and with the remnants of a body that seems to be flying horizontally, comes in a variety of sculptures in different sizes. The flat, white, inexpressive face, with just a protruding nose and a discreet, closed mouth, is staring straight ahead with a fixed gaze. Its pupils are small holes or large black circles surrounded by a shade of turquoise blue that also covers its clothes. This turquoise blue and pink tones of slip are the two bright colours that contrast with the white and shades of brown in the raw stoneware clay that is then fired in a wood kiln. The colours are all matt, to avoid reflecting the light which would disturb the way in which the forms are read.

The most recent sculptures exhibited here are from the last firing done in the course of the “Grands Feux” in October 2019, and they represent either hands or faces. The hands are angular, as if they have been carved with a knife from clay that has already hardened.

They are opened or closed on a bowl, on an enigmatic blue bar or on themselves. The bald heads without necks or ears are oval forms, like pebbles; these only emphasise the face, which has also been reduced to a minimum – a pointed nose, a small mouth with pinched lips, but with open eyes. These are the only witnesses to theoretical movement, looking to the left or to the right, with the possibility of expressing submission or passivity. These heads are superimposed and stuck in various configurations. Two or three small ones are wrapped around one or two larger ones, that is The Family, parents and children, anonymous and asexual. The eyes interrogate by looking at each other, while some, on the other hand, are turned outwards. From there on, the story has yet to be told. These oblong-shaped heads with their mineral colours are also reminiscent of a pile of stones, a return of the earth to its origins, as well as making reference to the carved rocks of Brittany.

Jean Guillaume draws and sketches his ideas, then selects the one that inspires him to transpose it into a shape. Once he has created a final mock-up, he begins the definitive piece. He wants to surprise both himself and the viewer. He is keen on double meanings. His work is influenced by illustrations drawn by 19th-century newspaper cartoonists, particularly Grandville, who, in a brushstroke, give a voice to the images. However, Jean Guillaume has no message to impart. He captures the viewer’s attention, suggests a title, which in fact is the same name for all the sculptures made on the same theme, and lets his imagination conjure up the before or after of the sculpted figure’s own circumstances.

For Jean, wood-firing is always his first choice as he enjoys the constraints of preparing, chopping and splitting the wood, as well as the precise process of loading the kiln. He sees the firing itself as an exceptional moment with the magic of the fire, the transformation of the material, the fusion, the smell, the crackling of the wood… and of course, he loves the result, the hues of the materials and the feel, the colour contrasts softened by the ash and the reduction effects from firing in the Sèvres-type kiln. Jean is still very attached to the techniques that he learned from Françoise Bizette and then from Jean and Jacqueline Lerat, the wonderful teachers he has never forgotten.

This exhibition of about fifteen sculptures in an original presentation suggests a new way of appropriating the Carte Blanche space, and questions the notion of Illusion.

Nicole Crestou

Permanent artistic exhibition

This exhibition has been designed by the members of the Ceramic Association of La Borne (ACLB) to reflect the programming of the temporary exhibitions. All year round, you can discover the variety of the traditional or the contemporary, the sculptural or the utilitarian artistic activities of the members of the ACLB.

The Artists:

Céline ALFROID-NICOLAS, Éric ASTOUL, Jean-Luc BELLEVILLE, Françoise BLAIN, Laurence BLASCO MAURIAUCOURT, Jeltje BORNMAN, Patricia CALAS-DUFOUR , Fabienne CLAESEN, Dominique COENEN, Isabelle CŒUR, Nicole CRESTOU, Suzanne DAIGELER, DALLOUN , Stéphane DAMPIERRE , Bernard DAVID, Corinne DECOUX, Ophélie DEERELY, Rachid DJABELA, Claude GAGET, Agnès GALVAO, Dominique GARET, Laurent GAUTIER, Geneviève GAY, Pep GOMEZ, Frans GREGOOR, Catherine GRIFFATON, Jean GUILLAUME, Claudie GUILLAUME -CHARNAUX, Viola HERING, Roz HERRIN, Svein HJORTH-JENSEN, Jean JACQUINOT, Pierre JAGGI, Anne-Marie KELECOM, LABBRIGITTE, Daniel LACROIX, Jacques LAROUSSINIE, Dominique LEGROS, Christine LIMOSINO-FAVRETO, Claire LINARD, Guillaume M0REAU, Machiko HAGIWARA, François MARECHAL, Joel MAROT, Elisabeth MEUNIER, Maya MICENMACHER-ROUSSEAU, Francine MICHEL, Isabelle Marylène MILLERIOUX, Isabelle PAMMACHIUS, Nadia PASQUER, Christine PEDLEY, Lucien PETIT, Jean-Luc PINCON, Charlotte POULSEN, Françoise QUINEY, Michèle RAYMOND, Anne REVERDY, Sylvie RIGAL, ROCHINA Alicia, Lulu ROZAY, Hervé ROUSSEAU, Nicolas ROUSSEAU, Karina SCHNEIDERS, Georges SYBESMA, Diane TRUTI, Jean-Pol URBAIN, Nirdosh Petra VAN HEESBEEN, Claude VOISIN, David WITHEHEAD, Seungho YANG.

Exhibition from 17 October to 24 November, 2020
As a result of extraordinary health measures in place, there will be no private viewings and no presentation of the artists’ work

Open every day

From 11 am to 6 pm