Loïc Le Groumellec: Oeuvres (2018-2022) | Lavis, gouaches, sculptures, peintures
Galerie Karsten Greve AG St. Moritz
Lundi - Samedi 10h – 13h | 14h – 18h30
le samedi 30 juillet 2022, 17h - 19h
L'artiste est présent.
Galerie Karsten Greve is pleased to announce the second solo exhibition of the French artist Loïc Le Groumellec in St. Moritz. The presentation includes works from the last 15 years of the Breton artist's career, whose work always deals with the culture and nature of his homeland.
While studying at the École des Beaux-Arts in Rennes, Loïc Le Groumellec discovered a series of lithographs in the Academy's archives depicting megaliths - a structure he was well acquainted with. Born in Vannes, he grew up in the Gulf of Morbihan, a place particularly rich in mystical remains from the Neolithic period. The enigma of the inscriptions on the Gavrinis cairn, still undeciphered today, the dolmens, menhirs and wilderness of his Breton homeland serve as inspiration for him, as they have for generations of artists and writers before him. Loïc Le Groumellec reduces his depictions and colour palette to a minimum in order to return to the origins of his pictorial work.
In addition to the motifs of his Breton homeland, the materials used play an essential role in the artist's work. He often covers his canvas works with a layer of varnish, which lends complexity and depth to the reduced formal language of his works.
The series of Écritures, which refer to the enigmatic pre-Christian inscriptions of Gavrinis, are set in dialogue with sculptures, the series "Mégalithe et maison" in orbicular diorite and marble, created between 2018 and 2022, and Chapelles/Reposoirs, wooden objects that enclose his Écritures like a sanctuary.
"These signs or 'runes', a kind of writing or metaphysical symbols, have always been present in my paintings," Le Groumellec explains of his pictorial language, the nature of which allows for an infinite variety of variations.
The production of these gouaches requires a lot of precision and concentration, not unlike the work of monk scribes in the Middle Ages. "I have just finished some gouaches on which I have been working ironically for fourteen days. In reality, I have been painting the same picture for forty years". Through the process of repetition, the creative process becomes a sacred ritual: "These writings allow me to open a space for an obvious abstraction, but also to reaffirm what I have been asserting for almost thirty years: the spiritual dimension of painting and the representation of the sacred through megaliths and these writings".