Texte écrit par Antoine Campo pour la bible de l'art abstrait 2011 - tome 3 - lelivredart

1984 under the Lorraine sky, in Jean Lacoste’s workshop: “A first spark! » And at the source, the active contemplation of the masters William Turner (Tate Gallery – London – October 1991) and Zao Wou-Ki (Jeu de Paume – Paris – 2003): “I feel at heart with this work. » 1985 it is through the technique of delicate watercolor that the young artist lays the foundations of her future work. Five years later, a marvelous series of 12 paintings was born which drew inspiration from Takashi Kijima's book, Orchids, Demons and Wonders. Even today, we feel this intact thirst to paint the infinity of color, to exalt its variations. Because for Monique Éliane Lelièvre, painting is a celebration where all materials are invited to join in the dance: watercolor acrylics, varnishes, inks, pastels and oils but also marble powder, black lava, earth ocher, glass nuggets or silk paper. A poetic saraband which takes us towards large canvases radiating this “light which protects the being like a sacred shield. » This shows how fertile the ground is when, at the dawn of the 2000s, abstraction imposes itself on the artist at the same time as biodynamic dance. “I like this difficulty, this unknown, this permanent mystery in which I venture,” she tells us. As proof, the quivering Hommage à Pina1 where the energy is summoned to make the canvas dance. An intoxicating spectacle with its purple bursts and harmonic twists. The admirer of the priestess of dance-theater imagines a dance-painting tuned to inner music, “very close to silence”. Color then bursts out in a resolutely contemporary choreography, feverish or calm. Thus Monique Éliane Lelièvre's painting invites each of us to enter the cosmic ballet. A deep and wild work whose radiant clarity is an anthem to joy. Antoine Campo Author, artistic director. 1 Pina Bauch, dancer-choreographer (1940-2009). Text for the bible of abstract art – volume 3 – 2011 – lelivredart