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国际创作计划 > 2016候选人
Sylvie Deparis (装置 女 法国)

[2015-12-26 9:36:17]


Sylvie Deparis (装置 女 法国)

西尔维·德帕利,1965年生于法国。毕业于图卢兹艺术学院,并在阿维尼翁艺术学院获得艺术品修护高等学位。自1988年至1992年,多次受任赴埃及修复壁画(女王谷,开罗伊斯兰宫殿等)。


“我的作品,从一系列的草图、绘画和线性的装置出发,目的是表达生活的韵律并且记录由感官捕捉

到的同一性的知觉。”



Acrylic-on-fabrics,-Boulbon-2010



Cyprès-blanc,technique-mixte-sur-intissé-marouflé-sur-toile,-100-x-100-cm,-galerie-l’R-du-Cormoran-2012



Exhibition-Beijing-2,-2015



Exhibition-Beijing-2015



Glass-and-light,-exhibition-Traversées,-2015



Mixt-media,-exhibition-Aramon-2014



Print-on-fabrics,-Aubais-2015



Print-on-silk,-Centre-d’art-contemporain-de-Istres,-2014


Tant-pis,-Ma-Desheng dpi


 西尔维 1965 出生于法国


School of Fine Arts of Toulouse

Diploma of Higher education in Preservation and the Restoration of the Painted Works, School of Art of Avignon

From 1988 till 1992, several missions of restoration of murals in Egypt (Karnak Temple, Valley of Queens, Islamic palace in Cairo)

2005  Painting workshop for children and teenagers in Bobo-Dioulasso, Burkina Faso

2010  Stay and painting in the Mekong delta, Vietnam

2011  Artist residency in Toji Cultural Foudation, Wonju, South Korea

2012  Stay and painting in Yunnan, China

2013  Artist residency in Batu, Java, Indonésia

2014  Painting-workshops at Qi Xiang Art Center, Beijing, China 

2015  Artist residency at Le Cube, Valaurie, France

2015  Artist residency at La Plantation Art Center, Beijing, China. Support from Lantian Consulting and Régional Council of Languedoc-Roussillon

Personal exhibitions :

2015   Rhizome, installation at the Lavoir with ATP Intersites as part as Territoires d’écritures, Aubais 

          Traversées, restitution of the artist residency Le Cube, Valaurie

Les flux, le flou, La Plantation Art Center, Beijing, China. Support from Lantian Consulting and Régional  Council of Languedoc-Roussillon

Traversées, Le Cube-Maison de la tour, Valaurie

          Traversées, Biennale Off du Design, Saint-étienne

2013    Raos Galery, 1st Meeting, with Decky Yulian and Hery Poer, Batu, Java, Indonésia

           Narbonne library

2012   Gallery L’R du Cormoran, Pernes les Fontaines

          Prieuré de Salagon, Mane, Alpes de Haute-Provence

          Library of Sainte Maxime

          Library of Romans sur Isère

          Library of Bron

2011   Galerie Bleue, Riscle, Gers

          Toji Cultural Foudation, with Roselyne Sibille, Wonju, South Korea

          Library of Saint Raphaël

2010   Chapelle Sainte Anne, Boulbon

2009   Library of Arles

          Library of Uzès

2008  Gallery L’R du Cormoran, Pernes les Fontaines

2007  Gallery Cupillard, Grenoble

2006  Gallery Espace Temps, Aix-en-Provence

          Medieval garden, Uzès

2002  Gallery Evasion, Carpentras   

2001  Maison des vins, Avignon

1996  Cloître des Arts, Avignon

1995   Gallery Arcana, Montpellier

          Les Amidonniers, Toulouse


Collective exhibitions :

2014  La vague des sentiments, Centre d’art contemporain d’Istres

         Rétrospective Résidence d’artistes, Communauté de Communes du Pont du Gard, Aramon

2013  Exhibition Résidence d’artistes, Communauté de Communes du Pont du Gard, Remoulins

2012  Supervues, 3 jours à l’Hôtel Burrhus, Vaison la Romaine

         Lignes et plis, une histoire du livre d’artiste, Musée PAB, Alès

2011  Le climat de l’artiste, Ceccano library, Avignon

2009  Artist books, Gallery L’R du Cormoran, Pernes les Fontaines

          Traces de poètes, L’Isle sur la Sorgue 

          Art’Zheimer, Saint Louis Cloister, Avignon

2008  René Pons, A writer and artists, Library of Uzès

          Après Pierre-André Benoit, Gallery 15, Alès

          Gallery Europ’Art, Aigues-Mortes

          4, Barbier, Gallery / shop window of contemporary art, Nîmes

2007  Gallery HD Nick, Aubais

2006  Repères d’Artistes, Bollène

          Gallery HD Nick, Aubais

2004  Gallery Palladion, Toulouse

2003  Artsud, Gordes

          Gallery Ochra Artis, L’Isle sur la Sorgue

2002  Regards sur l’art pictural, Hôtel de ville, Avignon

1994   Gallery Réattu, Arles


Permanently :

Gallery Michèle Champetier, Cannes


Paintings and artist books fairs :

2011 - 2012 – 2013 : Page(s), Fair of artist books, Paris

2011 : Festival du livre of Mouans-Sartoux (06)

2011 : Artpage 8, Rencontre biennale de l’estampe et du livre d’artiste, Octon (34)

2009 – 2010 – 2011 - 2012 : Fair of artist books, Carré d’Art, Nîmes

2009 : 12th Rencontres internationales de l’édition de création, Marseille 

2009 : Fair of Contemporary Art of l’Isle sur la Sorgue, Galerie Europ’Art

2009  Etonnants créateurs, Library of Arles


Artist books :

Simples énigmes, Bernard Teulon-Nouailles, 12 copies, Ed. de Rivières, 2007

Devancer la vie, Pierre André Benoit, 12 copies, Ed. de Rivières, 2007

Vertigineuses bergeries, Michel Butor, 18 copies, Ed. de Rivières, 2007

Mea culpa, René Pons, 12 copies, Ed. de Rivières, 2007

Le jujubier, René Pons, 12 copies, Ed. de Rivières, 2008

Questions de hasard, Christian Skimao, 12 copies, Ed. de Rivières, 2008

Aux braises de l’absence, Andrée Appercelle, 12 copies, Ed. La Petite Fabrique, 2008

Diurnes, Jean-Claude Villain, 12 copies, Ed. de Rivières, 2008

Le dragon des eaux, Michel Butor, 18 copies, Ed. de Rivières, 2008

Chanson noire, Ballade ardennaise, Aubade tangéroise, Patricia Dupuis, 12 copies each, Ed. de Rivières, 2008

Potlatch, Bernard Teulon-Nouailles, 12 copies, Ed. de Rivières, 2008

Le dit du lierre, Jean Joubert, 12 copies, Ed. de Rivières, 2008

Le limon du poème, Régine Detambel, 18 copies, Ed. de Rivières, 2008

La liseuse est vierge, Jean-Claude Villain, 12 copies, Ed. Le renard pale, 2008

Larzac, Frédéric Jacques Temple, 12 copies, Ed. de Rivières, 2008

Où la musique se fond à la lumière, Bernard Vargaftig, 12 copies, Ed. de Rivières, 2009

L’Etre, l’éclat et le vide de l’Etre, Jean-Damien Roumieu, 12 copies, Ed. de Rivières, 2009

Quatre pièces pour violoncelle, Gaston Puel, 20 copies, Ed. Sables, 2009

Poèmes, Catherine Pozzi, 25 copies, Ed. Sables, 2009

Femme fougère, Jean Joubert, 12 copies, Ed. de Rivières, 2009

Eveil, répétitions, Antoine Graziani, 12 copies, SD Editions, 2009

Melisma, Béatrice Machet, 12 copies, SD Editions, 2010

Lierre, Régine Detambel, 18 copies, Ed. de Rivières, 2010

Deux ou trois îlots de neige, 12 copies, SD Editions, 2010

La chute du jour, Salah Stétié, 30 copies, Editions Al Manar, 2010

Nuque contre terre, Jean-Claude Villain, 16 copies, SD Editions, 2010

La vie sans visage, Jacques Ancet, 16 copies, SD Editions, 2011

Implore la lumière, Roselyne Sibille, 16 copies, SD Editions, 2011

Sept méditations sencha, Kenneth White, 18 copies, SD Editions 2012

Je n’aime que l’énigme, Bernard Vargaftig, 30 copies, Editions Jacques Brémond, 2013

Cyprès, Joël-Claude Meffre, 18 copies, SD Editions, 2013

Tant pis, Ma Desheng, 18 copies, SD Editions, 2014


Manuscripts :

Rosée d’extase, Jean-Claude Villain, 7 copies, collection Feuillet d’album, Daniel Leuwers, 2008

Terreau du ciel, Joël Claude Meffre, 6 copies, collection Comme si, Daniel Leuwers, 2009

Toujours nouveau le silence, Bernard Vargaftig, 6 copies, coll. Don du poëme, Daniel Leuwers, 2009


Publications :

La revue des Archers, numbers 11 (septembre 2006) et 12 (juin 2007), Marseille

Transition 1, Review Propos de campagne 18, Propos2 éditions, Manosque 2010


Public collections :

Ceccano library, Avignon - Library of Carré d’Art, Nîmes - Library of Cavaillon - Library Forney, Paris - Library of Auch - Library of Arles - Art library of Arles - Library of Uzès - Patrimonial library of Périgord, Toulouse - Library Emile Zola, Montpellier - Library La Méjanes, Aix en Provence - Library of Quimper - Regional library of Gard - Regional library of Haute-Garonne - Library of Saint Raphaël - Municipal library with regional vocation of Nice - Regional library of Finistère - Library Simone de Beauvoir, Romans - Regional library of Héraut - Bibliothèque Cantonale et Universitaire, Lausanne– Regional library of Gers – BMVR of Marseille – André Verdet library, Carros – Library of Oullins – Library of Bron – Library of Anglet – Regional library of Alpes Maritimes - Library of Antibes – Library of Carcassonne - Nelson Mandela library, Gardanne – Bonlieu library, Annecy – Library of Bourges – Library of Vannes – Library of  Saint-Malo - Library of La Rochelle

Artistic approach 


My artistic approach, growing out of a series of drawings, paintings and line-based installations, aims to translate the rhythms of life and to transcribe the sensation of Unity, as captured by the senses. It draws on the source of the plant world in what I see as its essential nature, as a dynamic balance of flowing energies, a circulation of living breath.


My encounter with the “world” has its origin in the experience of duality. Duality between the weight of matter, the shadow of death, the brutality of the absurd and, as though transparently running through all that, the perception of another dimension, a unified, vibratory immanence. And also duality of the dissociation between self and reality.


From my desire to reach beyond was born the quest, through art, for a trajectory that would allow me to regain contact with the dimension of Totality. This desire triggered a process whereby the two poles can be perceived simultaneously and opposites can reunite in inner space, where the fires of creativity burn. Matter and non-matter are then perceived as a single Energy, fluctuating from more dense to more ethereal, like water changing from a solid to a gaseous state while still remaining water.

My entire approach consists in this itinerary which brings me to the gradual experience of Unity and seeks to bear witness to it. 


For me, the transcription of this sensation at first entails a bodily identification with the rhythms of the vital flows of the plant world, with the vibrations that run through it and emanate from it. Sensoriality, sensuality, give access to the unifying centre, from which the force now springs, erupts and propels itself upwards, and now plunges deep into the mysteries of substance. 

My encounter between body and world requires a great closeness to plant life and relies on breathing techniques, attentiveness to the senses and looking. I work in a natural setting or with plant forms brought back into my studio, in intimate contact with trees, branches, interlaced lianas. I experience their tactility, their roughness, to a point where I feel in my own body the “taste” of their being. The process of looking, in a kind of feeling vision, opens up the static forms in which is revealed the impulse that generated and fashioned and runs through them. 

Tactility is not thrown out but, on the contrary, expands until it becomes so embracing that limitations, contradictions and oppositions dissolve.


This requires a letting go of the self, a deconditioning from what is known. “My first concern is not to do, but to undo, from what is set and fixed”, in the words of Henri Michaux (1). The aim is not to grasp or to appropriate in the manner of a concept that circumscribes in order to control. But simply to tend towards immersion. 

Accepting vulnerability, searching for humility, for greater depth, the body has the ability to bring its own rhythm into harmony with that of another being, a place, or other vibratory phenomena, through forces, movement, just as much as through silences, gaps. You have to let yourself be traversed by irreducible reality, this something is that eludes meaning, which passes and passes through us until it starts a movement of its own (drawing or writing or dance…).


In striving to commune with the infinite variations and multiple metamorphoses of what is, in order just to perceive the “disappearing apparition”, the body seeks openness, fluidity, a questioning of the unknown, and in this desire for intimacy, shapes and fashions the creative experience.

In this state of abandon, the vegetal presence dictates to the hand its invisible vibration. In shaky equipoise, the line emerges from indeterminacy in search of a poetic expression of the life force.


I seek mainly through lines to express in matter this vibration of the impalpable. As Rémi Labrusse has written (2), “Lines are life. How so?  By virtue of their paradoxical nature: they unfurl into the unknown while maintaining their inner coherence; they are sustained by seeing without being faithful to it; they are marked by omissions, lurchings, accidents, and yet produce complete forms; they hesitate as they invent, they invent as they hesitate. And, above all, slender as they are, they always induce a sense of precariousness. Fragile and short-lived (like certain plants), they appear only against a background of imminent effacement.” For me, lines are ritual actions around repeated, mingled, interlaced markings, overlays of flows, entanglements of palpitations. Through them I try to balance pairs of complementary elements: emptiness and fullness, density and lightness, momentum and restraint, dynamism and rest, openness and closure…


My work tends naturally to develop in series. Series are also for me a mixture of fragmentation and continuity: inevitable fragmentation of sensorial perception, which lasts but a moment, and continuity or rather “continuum” of the Totality that underpins my approach.

Totality, that indeterminate backdrop from which everything comes and to which everything constantly returns, can only be translated in fragments, and I feel that it is actually its partial character which imparts to it its quality of openness. If the fragment is in itself a means of access to Totality (“fragment which nevertheless contains a totality”, writes Maurice Benhamou (3), “as a second of silence contains all silence”), so the association of fragments in a series is the rhizomic development of variations of a single perception, like the multiple facets of a single reality.


My work also takes the form of artist books – livres d’artistes – by way of a dialogue with poetry. This graphic universe, which can offer a way into the same symbolic patterns that I am concerned with as a painter, leaves behind functionality and discursiveness in a movement towards Presence.  In a relationship of complicity, confrontation and correspondence, texts and images also exist as fragments of a totality, while my hand links and traces these breathing words.


Creating is thus for me a privileged means of lifting the veil on Totality, by a centring that allows matter and non-matter, inward and outward to be restored to their continuing interflow. This perception-transcription may spark flashes which perhaps, in an endeavour that is constantly renewed because it is never completed, speak of reality as a whole.



(1) Emergences-Résurgences, Les sentiers de la création, Skira, 1993.

(2) Le désir de la ligne, Catalogue Matisse-Kelly, dessins de plantes, Centre Pompidou, Gallimard, 2002

(3) L′espace plastique: paysages de l′ame et portraits critiques, Name, 1998


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