PascaleFournier

Avelines museum

My future workspace allows me to work, collaborate and share with other artists meanwhile I can keep my personal space. I can also feel this sharing in my way through artistic residences.

I respond to collaborative calls projects such as the created for a CRAFT research and creation residency in which the proposed theme was: woven porcelain (3D printing and fabrics).

I also like to work with children, the friends of the Avelines museum and participate in their workshops or open them the doors of my workshop, make the sculptures and show them the different stages of the art work. I wish I could continue this in Chassy.

The calcined sculptures

It snows. I write from my bedroom.

Look into the past? I prefer to look forward!

Then move forward and re-appropriate the past.

We read in the stories and legends where the heroes to reach the love of the princess, they must cross a dark forest full of danger. It cannot take another way. It is the path of initiation.

The monsters walk freely in the workshop: I have good company; I have to choose what to take and what to leave.

The calcined sculptures. Aligned as soldiers. Filled with dust.

Made in 2008. Varnished in wood oven. I remember trying to capture the dark charcoal and the subtle grays and whites of the ash. In this time I burned everything. Fascinated by the colors in black and infinite whites. It's a pretty dramatic picture of death. I knew it was not a road where I would stay for a long time. Here we have a picture of burnt lemons.

In Saint-Cloud Studio.

In Saint-Cloud Studio.

Ceramics and fabrics.

I return to 2017's piece of art called Le reliquaire jaune (the yellow reliquary): anatomy of a small flyer. Porcelain, fabrics, coloring and wood. Each piece is wrapped in cloth, labeled and classified.
Against the hardness of the porcelain, the precision of the stretched lines, the definite, the definitive. The splintering made me feel overwhelmed, the softness of the fabric, the silkiness, the mystery in the transparent, the cover.
Due to the invading disorder, I need to classify, make a list and arrange things.
It is a necessity.

Model for the Tree of life.

The earth and the tree

This 2018 art work proposes another association of materials: ceramics and wood. The earth and the tree. The wooden sticks contribute to the strength and stability of the Circles. The circular and the linear. They also allow the assembly in different ways like a game. They are cells, living organisms. Plants as well as planets as individuals.

North wind

Inspired by color and working on it.
Dead natures.
White porcelain. The painting, the color seemed to be out from my imagination, here it is, enriched and vital.

At the 17th century, the paint, the architecture, the furniture, the fabrics, the tapestries and the beginning of the 18th century, the Enlightenment.

Different forms, colors, materials, ideas, another vision of man, society and the world.

After antiquity, Roman art finally brings to an end the Middle Ages.

Back-to-work

Phase 2 at Chassy, focused on the studio.
The walls are 1.5 m thick. All these stones filled two walls of large stones carved on one side. We took the stones from the closer quarry and carved them in the visible part.

Ocher limestone region between the Puisaye sandstone and the Morvan granite.
In the meantime, same as last year, i settled in the future hall. We find instinctively the atmosphere of the XVII century colors, both dark and bright. Heavy red, pink and blue ochres. Colors of Wermeer
My work is shared between Saint-Cloud, Chassy and Mexico that I will find in February 2019.

Centaur

This porcelain sculpture made in a 3D printer is also a centaur portrait for a gift. This portrait is inspired by the work of the Remains Fields realized for Archéologies du Futur where I recall the excavation fields which inspires me so much. The porcelain reminds me of marble. We picture this sculpture as a part of an Imaginary Museum.

https://www.pascalefournier.com/commandes-speciales/

Exposition évolutive LIEN / Echo parisien à la Biennale de Dakar

LIEN (bind) is a social exhibition and cultural heritage, an eco of the 2018 Dakar Biennial.

Pascale Fournier participated in the exhibition LIEN inaugurated may 15th 2018 in the Gallery 49 av. Jean Jaurès 75019 Paris.

Article published in the journal "Le Soleil de Dakar"  http://www.lesoleil.sn/2016-03-22-23-38-25/item/78295-echo-parisien-a-la-biennale-de-dakar-la -d-gallery-launches-a-exhibition-collective.html

The bind between the cultures and men exists everywhere in the geographic, cultural and religious frontiers. The art was there to proof "LIEN" (bind) is not an empty word.

I was there to watch how we share the same values and the same things concerning us.

Thank you to the "D Galerie" and "Domitille Bertrand " for gathered us in this exposition.

This "LIEN" exhibition was a chance for me to show the knitting and installation

Somebody said: "yes,  i understand the blue band which represents the .Mediterranean", other one mentioned "is the Samson and Dalida's chorus",  "The red net recalled me the red sea's journey". "It's very biblical." A little girl told me "they play, they jump".

Thanks to everyone for being there.

The oven's opening sets the end of my residence.

1060 °C. It all went well.
Everything was packed by Gerda Grüber's supervision eye.
The last picture. We embrace each other: yucatecan's warm and eloquent hug.
Coming back to Merida on Tuesday where I'll start with the final touches.
On the wait we forget everything, it's Easter Sunday and we are gathering with family and friends on the beach.