Marie-France Veyrat
SCUMOGRAMS
It is the title of an open project that has been part of my present works since 2003
FIBRART, finalist work in the III Premi Biennal de Pintura Torres-García-Ciutat de Mataró exhibited in the Caja Layetana exhibition hall in Plaza Santa Ana, Mataró from May 28 to July 28, 2009
Fibrart, fiberglass/polymer, 116x152x3cm.
"It invites us to penetrate the opacity of the world where nothing is obvious. This material, poor in itself, insignificant in appearance, commonly used for packaging, can suddenly transform and create a pure, really beautiful environment, with silver reflections.
Art, practically, is only feeling. Simple things acquire character, that is, deep truth. Everything is superfluous and useless, unknown and mysterious ... ", comments the author.
"Her work that can be technically commented and aesthetically valued, but above all noticeably appreciated. It is not a simple plastic product, it is an experimentation in which materials are allied with the senses to create art, in the most genuine conception of the word".
Daniel Giralt-Miracle
Art critic and historian
ESCUMOGRAMES IV curated by Ysabel Pinyol at the World Trade Center Eurostars Grand Marina Hotel in Barcelona from September 23 to November 10, 2008
Fibers, fiberglass/polymer, 111x200x5cm.
Arbre de la veritat I, installation, polyethylene and steely iron, 520x150x150cm.
… "Each Marie-France's work responds to her sensitivity and desires, it is her rendering. Despite this, there is a concern that surrounds everything and we must add to get closer to what her work is: that she sees everything from her own person, and only from that one-sided eye that captures and renders the reality ... And, since art is total life, sometimes it also captures it in installations ".
Arnau puig
Art critic, sociologist and philosopher
... "The artist Marie-France Veyrat takes advantage of packaging objects, derived from serial production in industrial, consumer and technological society, to elaborate her sculptural and pictorial works ... With the volume of polystyrene, she reinvents new forms that modify the typical silhouette of the product and offers the viewer a new, less functional, more aesthetic and contemplative look at this element of rejection "...
Imma Pueyo
Professor of Art History and Art Critic
ESCUMOGRAMES II curated by Cecilia Lobel, L&B ArtCommunication at Caja Madrid, Ciudad Real from January 4 to 21, 2008
No-limits, mixed media, silicone/cellulose wadding, 52x52cm./each piece
Arbre de la veritat II, sound installation, polyethylene and lacerated iron, 240x180x180cm.
Ideobox, sculptural set, assembly with cardboard, polymer and iron
MARIE-FRANCE VEYRAT
Escumogrames II
MARIE-FRANCE VEYRAT
ESCUMOGRAMES II
A self-taught and multidisciplinary artist, Marie-France Veyrat draws attention for her versatility and for her constant interest in experimenting within the creative sphere. In Escumogrames II she reflects her desire to transmit a new visual code through a versatile and suggestive material: recycled foam.
Marie-France's travels through Mexico, Burma, Iceland, the North Pole or India have helped her broaden her perspectives and become interested in the codes of communication that the ancestral cultures of these countries have bequeathed to us. The geometric shapes that the artist uses in her "contemporary codes" are fundamentally inspired by them. Based on straight lines and a very limited chromaticism -white, black and red-, her works breathe spontaneity and denote, as in pre-Columbian cultures, the warmth of the hand that created them.
Starting from the idea of recycling when selecting her materials - industrial packaging foams, cardboard boxes, digital pieces ... - the artist's creative process starts from improvisation and good management of the available resources. A first phase of selection, followed by grouping and final reconstruction, manages to redeem obsolete objects to turn them into works of art loaded with strong creative potential.
Agilely intertwining the two-dimensionality and three-dimensionality of the works on display, the exhibition makes us flow through a journey of harmonious and serene sensations. The immaculate white of some materials or the transparency of the methacrylate, suggest a clear search for balance and formal purification on the part of the artist. Through an aseptic aesthetic but loaded with poetry, the sound that floods the room and that mainly accompanies the installation "L'arbre de la veritat", gives the viewer the possibility of accessing a world in which the most elemental sensations are awakened.
Escumogrames II aims to convey, through a delicate and elegant selection of works, one of the great aims of Marie-France Veyrat: to link us with a perception of reality charged with purity and balance.
Cecilia Lobel
Art Historian and Museologist
MATERIALS PER A UNA NOVA PLASTICITAT in Tinglado 4 del Moll de Costa del Port de Tarragona from September 8 to October 8, 2006. Retrospective curated by Arnau Puig, Art Critic, Sociologist and Philosopher.
Digital image of one of the views of Campanar projected in VeyrArt - Campanar: T'estimo
MARIE-FANCE VEYRAT VS. MANOLO MILLARES presented by the gallery owner Miquel Marcos at the Torre Baró art gallery in La Selva del Camp, Tarragona from March 10 to April 15, 2006.
For the inauguration, a book was published that compiles works from the beginning of her career until then.
Natura, personal technique, gauze, palm fiber, antique embroidery cutout and fine threads, 155x160x3cm
L'oiseau en cage, high heddle, jute and cotton 185x110x3cm.
TRÒNIC LAB, a work made with computer boards and recycled parts now obsolete electronic machines that has 3 television screens showing videos that represent the work and life of Manolo Millares.
Trònic lab, audiovisual installation, metal structure, electronic and computer parts, stainless steel, 3 TV screens, PC, Software, 240x130x130cm.
Vitality and wealth of ideas in the work of Marie-France Veyrat
"The art of tapestry experiences a rebirth among us. Although shy and insecure, like everything that affects creativity, he has overcome the conceptual limitations of the industry and has become an interpreter of the sensations and expressive wills of the artists who practice it. There are no limits in its conception nor in the forms it can take, since the utility with which it had to live - adornment and shelter of walls, courtly faust, expression of facts that wanted to be commemorated and other servitudes imposed by society - has been left without object within the current social customs. Therefore, an art that was as buried and dependent, has been able to grow by itself and according to the operative will of those who, knowing the techniques and materials of which they have to use, is not conditioned in the search. And a good example of what has been achieved in terms of space of communicative freedom of emotions and feelings through the tapestry is the work of Marie-France Veyrat, which appears in this book, summary of the exhibition presented to her by the Torre Baró gallery in La Selva del Camp.
I remember in May 1988 I saw an exhibition by Marie-France Veyrat at the Lleonart gallery in Barcelona. I was interested in her sense of color in space. I didn't know her personally, but I thought she was a creative who knew how to integrate into the natural environment and capture the dynamics of life. It was an intuition that now, situated before her most current work - much richer, but at the same time simpler in her search for essentiality - is confirmed.
Nature acts in an unpredictable way and according to needs that the limitation of human time cannot count on, even if it insists on it. Hence we have learned to put our emotions in the environment that conditions us in order to feel present in what was born without our contest and will continue to be when we have disappeared. We aspire to remain, as in the tapestries of Marie-France Veyrat, the germinative impulse of the earth arranged as a landscape; the flutter of the butterfly, ephemeral for brevity of existence but always archetype of beauty: the growth of forms and the balance that they find in thought. The tapestry as the most continuous expression within his artistic work and the iron installations she also makes are the result of observation and imagination that merge in it. Hence, in the works of Marie-France Veyrat we can recognize many aspects of the natural. There is no imitation but creation, but also an innate sense of what, despite the diversity of forms, represents the essentials of life."
Josep M. Cadena
Journalist and Art Critic
ESCUMOGRAMES presented by Arnau Puig, Critic, Art Sociologist and Philosopher at the Artloft Space in Reus, Tarragona from October 28 to November 27, 2004
Blanc, negre i vermeil 2, mixed media/polymer and cardboard, 82x39cm.
In short, Escumogrames is a denunciation of humanity and the world of the XXI century towards so much exaggeration of superfluous means and misused energy.
