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Marie Charrel Ménard's plastic work seeks to explore new lines. In her two or three-dimensional compositions, she creates links between color (its symbolism, its influence), materials (their texture, their effects) and objects (recycled).

In her sculptures, Marie is inspired by the

In painting, according to the periods of her life, Marie approached several themes. Her latest series "Immersion" was linked to a dramatic change, a daily cut off for a move to Florida. In the whirlwind of this journey, the visual artist Marie Charrel Ménard worked on the resurgence. The resurgence of her attachment to her native land, to its cherished creeks, to this iodized smell and to these shimmering colors of the Mediterranean exalted by the light. The resurgence is also about her fascination with Viennese Graphic Art, the Viennese Secession and the artists of this period. Like Klimt, Kolo Moser, but also Kupka and Mucha, the artist plays with organic shapes, stylizes the curves of a sea urchin or of a coral photographed once in Reunion island.  The abundance of the pattern and the profusion of colors gives rhythm to her paintings, cadences their structure.

As we explore the "world of silence",  we enter the artist's univers,  populated by shells, invertebrates,  and aquatic flowers.

Her sculptures and her latest paintings weave a strong link, like between childhood and adulthood. It remains to be seen in this temporality, what is the past and the future ...

"round-bump" technique. It collects, assembles, accumulates, covers objects from nature, and from human activity, to domesticate and re-explain them. Debris of wood, toys, plastic bottles are diverted from their current functions to acquire new meanings. Through repetitive assembly, the object abandons its socio-economic value to take on a plastic value. This destabilizing re-exploitation creates playful and powerful pieces. The assemblages are inspired by our society's realities. They have a strong affective and sociological dimension. Her sculptures, made entirely of toys, are directly linked to the world of childhood. Over the collection of hundreds of toys from hyper consumption, Marie engaged in a breeze: the construction of sketches. Using plaster bandages, she then implemented a process of conserving childhood, inspired by mummification techniques. The sculpture "The wings of childhood" represents childhood in its purest form : preserved. The one who wants to "remain a child" will never have to face the world. Its only way out is to become silent as an "angel", to not have to face the passage of time, a symbol of loss of purity. As long as these toys are in this form, nothing can reach them, and the childhood they symbolize is protected, by mummification games, in an imaginary beyond. 


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