LEE GALERIE

Avec Alberto Giacometti et Germaine Richier, le sculpteur Edmond Moirignot (1913-2002) appartient à une famille de sculpteurs qui, après-guerre, renouvelèrent la sculpture figurative pour exprimer avec une intensité nouvelle l’homme et son drame. Son œuvre affirme la foi en l’être qui pense et qui aime. L’âme est son centre de gravité et chaque sculpture crée ainsi un espace infini. Il s’y exprime la méditation, voire la mélancolie de qui s’interroge sur le temps, la vie, le monde et le néant. C’est un univers qui semble venir du fond des âges tout en étant complètement de notre temps.

Née à Bruxelles, Isabelle Declève vit et travaille à Paris.
Après des études au Conservatoire Royal de Musique de Bruxelles, elle se rend à Paris pour y étudier et approfondir l’écriture musicale, l’harmonie et le contrepoint et entame une carrière de pianiste concertiste.

Reçue et perçue d’abord comme source de grande richesse et inspiration pour l’expression musicale, la peinture prend peu à peu une place prépondérante jusqu’à ce que, et par le biais donc de la musique, Isabelle Declève s’y tourne un jour définitivement et s’y consacre totalement.

Born in Battambang province in 1985, Theanly Chov now lives and works in Siem Reap (Cambodia)

Theanly always seeks to retell - pictorially - their personal story.
The characters usually adopt the same pose. Their heads are raised, as if they were preparing to take off. They are often painted on a two-coloured background, the two shades of color forming a demarcation line which passes just above the mouth. The figures in the series «Surviving» can also be seen as trying to keep their heads above the water.

Beyond their apparent simplicity, his paintings reveal a thought-provoking depth which, we believe, is one of the secrets behind the appeal of Theanly Chov’s work. He draws on personal stories to tell of a changing country. He manages to commu- nicate a deeply pictorial vision - sensitive and palpable - of the theme of individual fulfillment. His talent, accessible to viewers from different backgrounds, allows eve- ryone to recognise their own failures and successes.

Originaire de Hangzhou en Chine, JIA Juanli a grandi dans une famille où la culture et plus particulièrement la peinture prédominait.  
Elle intègre d'abord l'Académie des Beaux-Arts du Sichuan dont elle sort diplômée en 1986,  
Puis en 1991, la très sélective Classe de Création et de Recherche de l'Institut Central des Beaux-arts de Pékin où elle se perfectionne dans la maîtrise des techniques de la peinture à l'huile.  
En 1996, JIA Juanli est invitée par le gouvernement français à un séjour en résidence à l'école supérieure d'art d'Aix-en-Provence.  
Depuis 1998, JIA Juanli vit à Paris où elle se consacre à la peinture.
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JIA Juanli was born in Hangzhou, China. She grew up in a family with a keen interest in culture and a specific interest in painting. After graduating from the Sichuan Academy of Fine-Arts in 1986, She continued her studies as a member of the highly selective creation and research team at the Central Academy of Fine-Arts in Beijing, by the time she graduated in 1991, she had perfected her oil painting expertise.  
 
In 1996, the French government invited JIA Juanli to take up a residency positon at the ESSAix school Fine-Arts in Aix-en-Provence. 

Wang Keping is a sculptor born in 1949 in Beijing, who currently lives and works in Paris. In 1979, Wang Keping was one of the founding member of the first non-conformist artist’s group in China, «The Stars» (Xing Xing), together with Huang Rui, Ma Desheng, Li Shuang, Ai Weiwei, setting the stage for avant-garde art in China.

Wang’s unique wooden sculptures, including one that featured a Buddha-like Mao figure, shock the art world in Beijing in the late 70s and early 80s. Wang Keping continues to create these signature sculptures that juxtapose vivid emotion with a marked sense of introversion. Wang is particularly interested in exploring and negotiating the possibilities of rendering the female body. Visually informed by an amalgamation of prehistoric ice-age statuettes and 20th century artists like Constantin Brancusi, he carves heavy thighs, enormous breasts and bulbous buttocks. This eroticism is countered by the solitary tone of these sculptures, as stoic and as subtly abstracted, as a Totem. His figures are of a powerful vividness although they also have a touch of melancholy. Many of the pieces show strangely torn, twisted and distorted shapes. Some seem to have lost limbs, lack eyes or mouths or have over-dimensional genitals. But there are also restrained and subtly abstracted forms in the same vein as Masque or Totem.

Bengt Lindström was born on September 3rd, 1925 in Storsjökapell.

Lindström was one of the original artists who added new dimensions to 20th century art. His work, inspired by and often based on the traditions of the Nordic world, became internationally well-known because of its powerful presentation of human themes, depicted in vivid colours.

Lindström’s influence on the way art was and is experienced cannot be underestimated.  His appreciation of Sámi culture and the way he incorporated its traditions into his work led to a new visual expression.  Lindström’s art became highly recognised around the world.  Exhibitions were held in Europe and the United States, earning him a solid reputation among the public and his peers.