Discover the contemporary work of Virginie GOSSELIN-FéVRIER

After studying Art at the Sorbonne, at Paris, Virginie Gosselin-Février leaves for Australia to meet her dreams of desert and space. This is where the face to face This encounter with Aboriginal Art and Culture will mark a decisive point which will only be revealed later. After further studies in journalism, the road and the following years were divided between writing and travel, between the red lands and the oceans, between the world (South America, the Pacific Ocean). anie, Asia, Africa...) and Paris. His painting is the reflection of these traveling dreams with plural dimensions. Intertwining of cultures and paths where animals are ancestral, men are discoverers and intuition is queen. Today she lives and works in Paris. Toulouse.

After studying Arts at La Sorbonne, in Paris, Virginie Gosselin-Février goes to Australia to meet her dreams of space, desert & wilderness. There, facing the Art & Aboriginal culture will have an impact that will be relieved only later. After new studies in jounalism, the following years will be shared between traveling & writing, between red lands & oceans, between Paris & the world (South America, Africa, Asia, Oceania...). Her painting is a reflection of these itinerant dreams of plural dimensions. Interlacing of cultures and paths where animals are ancestral, men discoverers and intuition, the essential point. She now lives and works in Toulouse (South of France).

"I don't tell stories, they tell me."

My artistic approach is work on content and form, the search for harmonies and balance on a purely intuitive and instinctive basis.

I let myself be guided by the movement of my hands, by the visions that emerge behind my closed eyes, by the figures that emerge beyond my eyes. of all will. These figures appear at both embodied and floating, central and silent, filling here and sailing elsewhere, multiple and split.

More than representation, it is a question of presence, of transcendence, it is the idea of the thing more than the thing itself which me #39;matters. I rationalize little, as little as possible, and let my interiority become apparent. guide me. I aspire to let myself be crossed by what floats around me, capture signs or messages which of course are nourished by a wealth of data relating to my travels, my past, my dreams, various foods to eat. both cultural, spiritual and intellectual.

I deliberately do not formalize them. I let them create, beyond of any intellect, of any theory, of visions, which later, once completed, may surprise me or, downstream, merit reflection, even a speech, a conceptualization.

The story is outlined, imposes itself and requires me to pose such a line, such a color, such a sentence to leave an imprint which will be its synthesis.

I mainly work in acrylic (with medium) on linen canvas. I add here and there collages, oil, pastel chalks, sand and markers. The material, the richness and the depth of the rendering occupy as much space as the work of colors, shapes and purpose.

My influences are multiple. Basically, there is Aboriginal Art that I discovered during long stays in Australia. An art à grave; at the same time innocent but coded, abstract and esoteric, terribly aesthetic and secret, bearer of ancestral knowledge. An expression with both symbolic, coming from the depths of time and sometimes naive. The symbolists (Odilon Redon, Gustave Klimt) and the neo-expressionists (Jean-Michel Basquiat) are also part of my inspirations since they leave a large part to the dream world, in what it can have more gentle but also more strange and liberated. of reality. Like iconic religious art which does not represent the world around us but transfigures it by freeing itself from our earthly three-dimensional vision.

Finally, I have always been fascinated by the paintings or drawings of children who carry within them artistic creation as I try to experience it: spontaneously, without intellect, conceptualization or academicism.