Sculpture | Installation






SOLO SHOW  SAUVAGE ! À l’atelier 8 du @collectif.bonus à Nantes
du 8 au 24 Juin 2023
Images ©ADAGP
Les sculptures ont été performées par lilou Legars et Yuka le jour du vernissage
Lilou Legars s’est dissimulée immobile dans la sculpture l’Arbre endormi pendant 40 minutes puis à accompli quelques pas et gestes.
Yuca a ensuite décrochée la sculpture Oreille de Judas puis à performée pendant 10 minutes paris le public, je les remercie chaleureusement.
Brasiers 4 tulles peints 1,50 x 4,6 m 
Fumigènes – peinture sur papier aquarelle- 1,83 x 1,5 m 
Tout doit disparaitre- peinture sur papier aquarelle-  2,60 x 1,30m
Le soulèvement des corps- peinture sur papier aquarelle-  63 x 48,5 cm – 
Embrasement -peinture sur papier aquarelle – 1,50 x 3m 
Smog wall – peinture sur papier aquarelle- 1,50 x 3m
Foyer – peinture sur papier aquarelle-  65 x 53 cm
Tree – peinture sur papier aquarelle-53 x 65 cm
Deep forest – peinture sur papier aquarelle-  1,39 x 1,50 m
Céramique en grès 1,2 
Autel : Céramique grès et verre 
Sculpture oreille de Judas 
Sculpture Arbre endormi
Portrait des disparues – 6 dessins de 18 x 26 cm -dessins sur papier aquarelle  
Grottes 3 formes en bois peint 58 x 50/ 65 x 45 / 60 x 50 cm  


♦ RÉSIDENCE au centre d’art AXÉNEO 7, Gâtineau, Canada
Restitution et Ouverture d’atelier le 18 janvier au Centre d’art Axenéo7,  pour clôturer la résidence croisée de deux mois, avec Le Lieu Unique ( Nantes) et Axénéo7 Gatineau, Québec, en partenariat avec le Conseil des Arts et des Lettres du Québec. Merci au centre d’art Axenéo7 pour son accueil chaleureux



Laurence Broydé, There Is a Light That Never Goes Out

Cynthia Gonzalez-Bréart

About halfway into The Hearing Trumpet (1)—painter and novelist Leonora
Carrington’s tale about a 92-year-old ex-Surrealist and her adventures in a kind of cult-like retirement community—hard-of-hearing heroine Marian Leatherby notices the painted portrait of a winking Spanish-seeming nun, watching her. This mysterious gaze is enough to set Marian’s imagination off, inventing a name and origin, as well as developing friendly feelings towards
her—a “wonderful and terrible woman,” as she is described in a book given to Marian by another of the community’s colourful characters. The gaze is of equal importance in Laurence Broydé’s Espaces d’Espèces, Spaces of Species (2). Eyes are omnipresent; they are multiple, innate to the crocheted series, Sculptures
à Porter, Sculptures to Wear. We encounter Visio, Rainbow, Argos, Le Troisième OEil, Fireman, (all 2017) mythological beings in an environment which seems to recall a stage backdrop; they are in what appears to be their natural habitat, mirroring our gaze and calling attention to ourselves—watchers caught in the act. Along with the wearable works, perched upon their pedestals, totem-like; the viewer stands, awaiting the unspooling of some yet-unknown event. Broydé’s figures suggest immanence—a thread, continuously weaving itself unto itself, over and over again, like an errant thought. The many fibrous knots which form them, although varying in colour, coalesce to form volume, attachments which are flexible yet firm, creating varying shapes and movements. As their title indicates, these wearable forms carry the potential for interaction (this is the first time they have been exhibited on pedestals, having previously been worn in the context of performances). In this way, these wearable works form a heterogeneous presence, plural and unheimlich (3) in nature; yet they also speak of absence. There is also transcendence in the immersive wall painting (part of the Open Space series) which serves as a backdrop for the group. Here, the artist has expanded the volume of the exhibition space; alluding to other existences (Foucault’s heterotopia), other forces, other states of mind. In past iterations of Open Spaces, she has created virtual extensions through the use of airbrushed paint and vinyl tape, transforming transitory spaces like stairways and hallways into open-ended stories whose content is to be determined by the visitor. These works remind us that liminal spaces also count ; they are the setting and the backdrop for transitory interactions—an exchange of glances, a conversation, a Duchampian nude descending, or perhaps even a rap video, as was the case at 38 Breil in Nantes. In the work of Laurence Broydé, contrasting elements combine, sometimes harmonising, other times playing off one another. They vary from whimsical—a tongue emerging from a flower—to reflexive—a kind of screen replaces the sea. They juxtapose vibrant and energetic colour palettes with themes reaching back to Antiquity—ceremonial masks and ritual, the Here and the Beyond, the presence of spirits and otherworldly beings which attest to old, animistic conceptions of the universe. Other hints toward an uncertain future abound in Broydé’s world; traces of our consumerist past carelessly strewn across a sandy shore—plastic wrappers, disposable cups and chewed-up bubble gum haunt our planet’s future with the only guarantee being the promise of global warming. A shift in perspective, or repositioning is often involved when approaching these works. In Oratoire (2022), we enter into a circular, womb-like space in order to convene with another unworn—or Lagerform (4), to borrow a term from German artist Franz Erhardt Walther— Sculpture to Wear. Scala Vestibuli (2018) is a vertical, bas-relief ceramic sculpture crowned with a voluminous crimson and black medusa-like mass, last worn in a performance (5) in 2021. Another side-step or displacement occurs with the small, crocheted flowers, glass-blown bubble-gum bubbles and balloons. Once we have drawn closer to inspect the work, we discover that what was once fragile and transitory has been imbued with a slightly more resistant aura; a type of mask perhaps, like slipping on a new persona. One step back and suddenly we discover that what appeared at first to be a garden of crocheted flowers6 is actually a face looking back at us, teasingly. This slippage occurs at several points in the exhibition—masks become sculptures which resemble creatures, a painting which is a curtain becomes sculpture (7)— something we only discover once we realize that what had previously seemed like painted details on a backdrop are actually protuberances, leading to possible portals. Some of the tableaux evoke Richterean spaces; a candle a flame (8) which will never cease to illuminate dark spaces. And, on the other side of obscurity, there is—or will be at some future point—light. Like a photograph of some sublime or memorable moment, Broydé’s works take hold of what is transitory and prolong it; suggesting something close to what Carrington intimates when her protagonist observes the nun’s portrait and begins to dream up a life for her, effectively prolonging her existence. The corollary to this is that in the process of observing, we realise that we are never alone; we are also constantly under observation. By our individual counterparts, and society as a group, in the present-day and in the future. After all, our contemporary actions are history in-the-making. An entire spectrum of possibilities opens itself up to us; what we make of these potential Worlds is of course, up to us.


1- Originally written in English and published in French in 1974, the book was written sometime in the 1940s.
2- A joint exhibition with artist Anna Pico, at Atelier Alain Lebras, Nantes, Dec. 3 – 29, 2022.
3- The notion of unheimlich was explored by Sigmund Freud (1856-1939) in the influential essay The Uncanny (1919) and references phenomena which are familiar and yet strange enough to elicit a strong psychological reaction in the subject. Automats, mannequins and Medusa’s head are among the examples given. 4 Lagerform was a term used by the artist to indicate a work which was otherwise used in a performance temporarily in a storage situation atop a plinth or pedestal. We can form connections with the works of German artist Franz Erhardt Walther (b. 1939) as well as with Brazilian artists Ligia Clark (1920-1988) and Helio Oiticica (1937-1980); all of whom incorporated the use of soft, wearable forms into their practices during the 1960s. Annette Messager (b. 1943) and Faith Wilding (b. 1943) also come to mind; both incorporated craft techniques
such as knitting and crocheting into fine arts practice in the 1970s.
5- Sculptures to Wear in Open Space (2021) at 38 Breil, by ECART Company.
6- Chemin de l’Amour
7- See Donald Judd’s (1928-1994) 1965 series Specific Objects which sought to avoid retreading the already heavily explored terrain of sculpture and painting by avoiding falling into either category.
8- The lit candle is a recurring theme in German painter Gerhardt Richter’s work (b. 1932). See Kerze (1982).

Sculpture à porter en fils acrylique, dans Open Space 3, installation pérenne au 38 Breil à Nantes.

♦ OPEN SPACE 1, 2, 3 ♦

Installation pérenne dans  espaces du 38 Breil, dans le cadre d’une résidence de  création à Lolab Nantes– Installation format variable –  Peinture et anamorphose – À découvrir dans le cadre du Week-end des Arts Visuels les 27,28, 29 mai 2021 à Nantes – Avec le soutien de la région, de la DRAC Pays de la Loire, et de la ville # boursedecréation

Résidence de création à Lolab Nantes– Installation format variable –  Peinture et formes en bois – Avec le soutien de la région et de la DRAC Pays de la Loire # boursedecréation 

 Sculpture à porter en faïence noire

Actiniaria – faïence blanche – Sculpture & installation format variable

Vase brutaliste engobé en faïence blanche 

Recherche & installation format variable – Avec le soutien de la région, de la DRAC Pays de la Loire, et de la ville # boursedecréation 



Sculptures en laine 




≈ Tailler la zone ≈ exposition collective avec ≈ Laurence Broydé ≈ Alex Less
≈ Nathalie Nato ≈ Claire Sauvaget ≈

≈ 6 décembre 2018 ≈ 16 février 2019 ≈

Cette exposition collective, conçue comme un espace des possibles, interroge la construction mutuelle d’un individu en chemin et du territoire qu’il traverse, habite et donc façonne.
Les quatre artistes sont lauréats du dispositif d’accompagnement Le joli mois de l’Europe.

La galerie 3.1
7 rue, Jules Chalande – 31000 Toulouse
05 34 45 58 30


2018 ≈ Sculpture à porter ≈ Fils textiles mixtes 
≈ Photographies : Jean-Marie Lambert ≈ @jeanmarielambert8486

≈ Sculptures à porter ≈ 2018 ≈ Fils textiles mixtes ≈
≈ Photographies : Jean-Marie Lambert ≈ @jeanmarielambert8486



≈ 2017 ≈ Sculpture à porter ≈ Fils textiles mixtes ≈ Sculpture to wear ≈ Mixed wool ≈ 29 cm p x 22 largeur x 36 cm h ≈

≈ 2017 ≈ Sculpture à porter ≈ Sculpture to wear ≈ Laine acrylique fluo ≈ Fluorescent Acrylic wool ≈ 37 cm x 45 cm x 38 cm h ≈


≈ 2017 ≈ laine mixte ≈ Sculpture à porter ≈  Sculpture to wear ≈ Laine acrylique ≈ Acrylic wool ≈ 27 cm p x 15 cm l x 28 cm h ≈

≈ 2017 ≈ Sculpture à porter ≈ Sculpture to wear
≈ Laine acrylique ≈ Acrylic wool ≈  38 cm x 50 cm x 42 cm h ≈
≈ Photographies : Jean-Marie Lambert ≈




Installations pour l’Exposition collective A.R.T.F ≈ 2017 ≈ Installations de formes en bois peintes avec wall painting
≈ Dimension variable ≈ Photographies : Jean-Marie Lambert ≈


≈ 2017 ≈ Installation bois peintures sur colle vinylique, wall painting

en peinture photoluminescente ≈ Dimension variable ≈
≈ Photographies : Jean-Marie Lambert ≈

Pièces crées à l’occasion de la résidence/Exposition collective ≈ A.R.T.F, Almost Ready To Fly ≈
≈ 23 novembre ≈ 21 décembre 2017 ≈
≈ à L’Ecole Nationale de l’Aviation Civile, Toulouse ≈



♦ IGITUR ♦ ≈ 2015 – Exposition collective
≈ Installations Scotch noir murs et sol, La Fabrique ≈ Université Toulouse Jean-Jaurès ≈~
≈ Collective exhibition ≈ Scotch on wall ≈  La Fabrique Toulouse Jean-Jaurès University ≈