Architecture and landscape
“Behind the scenes” as part of the set.”
I can never, speaking of cinema, prevent myself from thinking “cinema” more than the film. – Roland Barthes
Lucie Laflorentie’s work is based on the articulation between her approach to drawing and her experience of the landscape (Canyon, 2005).
Different from the common concept of the studio, the artist questions her perception of the space and lays down a movement relation between her and her environment.
From the window open to the world to the omnipresent setting, Lucie Laflorentie never ceases to deconstruct and rebuild the unity of the image in a particular spatial setting. The exhibition space becomes the landscape of all possibilities and escape points.
Her architectural installations combine a tinkered look with the abyss of video. A game is being created between projection and representation space, a new sharing of the world of images.
The Springkler installation (2008) delicately and soberly translates this porous world where the crate module becomes the constituent element of a hut opening onto an existing landscape. The myth of the “in progress” cabin is reinvented by the video capture of visible light (rainbow) in perpetual fading. The machine (Springkler, monitor) deflects a screen, an intermediate also more or less misleading.
The trompe-l’oeil is baroque with its detail-mirror effect in Dehors (2008). This installation, paradoxically very “less is more”, as always in this artist’s work, imposes its monumental presence in a fair adequacy with the context of the exhibition as it is.
Visible, invisible, fragmentation of planes, densification of volumes, it is as if Lucie Laflorentie’s work was placed in the beginning of something; something whose predefined frame, often set as a natural extension of the exhibition room (Veduta, 2008), captures our attention to better prolong a sensitive and free experience.
It is like in a movie theater, sitting neither too close nor too far from the screen to better see the drawing of the skyline.