angélique

Angelique or the eluded appearance. 

"Angélique's field of exploration and intervention takes place in a parallel world, another dimension, temporarily inaccessible to our soles of lead.

Commuting between the sky and the asphalt of the urban jungle, the artist captures the veil of appearances and materializes our ectoplasms. Sweet appearances…. Here is a life-size bust of a city barbarian. But, transfigured, it appears to us diaphanous, translucent...

The character's provocative look has transfigured into a hieratic figure, to the point of evoking the serenity of an Egyptian god. Beside, dressed in her sweatshirt, a young rapper or, rather, reflected by the immaculate whiteness of her immaterial envelope, the image of her soul, for eternity... And then, again, little everyday "things", so trivial that one would have thought that they would finally let go of us at the moment of the great passage; well no, they are still there… after transmutation. Burgers, fries and sneakers in the middle of the cherubs! But what does the good Lord do? Of all these objects that here below weigh us down, Angélique Lefevre retains only the ghost, the pure memory. And not only, having reached this supreme state, have they lost their aggressiveness, lightened as they are of their colors and their materiality, but miraculously, they have become... important.

They have become important because, as derisory as they were in the lower world, their photons having one day struck our retinas, they remain, despite everything, elements of the memory of the world and that memory, by distilling the real, transmutes everything as a witness; neither beautiful nor ugly: precious only.

Let's come back down to earth and, in disbelief, take a look at what these apparitions are made of. An incredible material gives them body, the organdi, a pretty word which designates a cotton muslin, an impalpable weft, to which a primer gives shape. And these forms are assembled by stitching according to demanding and mysterious processes: the straight grain, the full bias. The sculpture is only couture. The volume only inflates once the last stitch is tied. Fine embroidery sometimes runs over the shapes to mark a pattern. Angélique's spirit riding her nimble needle (twenty-seven hundredths of a millimeter so as not to brutalize the weft), at each stitch she makes, rises in the impalpable and leads us there. »

Text by gallerist Alain Blondel

My sculptures send back to us a poetic and sublunary image of our contemporary world, which has developed as if by layers, as my studies and professions progressed: studies of letters and a propensity for "human narration", a profession second-hand goods dealers and objects from the most ordinary to the most exceptional, seen over the distance of time, finally the profession of model maker who works out from a flat surface, the fabric, a 3D volume.

For my personal interpretation of their cult objects, great Houses have called on my art: under the leadership of Leila Menchari, the popess of Hermès window displays, I create Kelly bags, Plume bags, Eiffel Tower, animals, cakes… they will take their place in the enchanting setting of 24 faubourg… .

Dior orders me their iconic handbag, the Lady Dior, which will cross the Orient in traveling exhibitions. Patek Philippe asks me for the women's watch, Twenty-4.

Van Cleef § Arpels, Sisley are my sponsors without forgetting the collectors who will be at the origin of sculptures such as The Leica mustache, The Louis Vuitton cabin trunk or, among the busts, that of the famous couturier Jean Paul Gaultier.

I joined the FRAC haute Normandie collection in 2007 with the sculpture: young girl with MP3. The contemporary art center Galila's POC in Belgium acquires Madame De I in 2020. Among the personal collections we can mention those of the decorator Chahan Minassian or the gallerist Barry Friedman in the United States.