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112 113All Jeanne’s artistic and human experiences areexperiences of journeys,crossings and meetings,which lay down the foundations of her personallandscape. She is never afraid of embarking onnew and perilous techniques and mixes.Her use of ceramics, which began in 2013 while shewas in residence at the Cité des Arts in Paris, hasbecome more and more necessary in her overallproject around the Landscape, its motifs, its visionsand its ramifications. Little by little, we start to seedialogues and exuberant quasi-confrontations betweensmall water-colours or oils on paper and ceramics,appearing in her installations. These are very newconcepts and situations.Her bright dynamic gouaches supply us with thepatterns, the rhythm of jubilation and the spontaneityof sketches. As for her ceramics or plaster sculptures,they conjure up in a most sensual way, the concreteelements of the landscape, between vegetable andorganic.It was during her residence in Holland at the end of2015 at the Sundaymorning EKWC (The EuropeanCenter of Ceramics) that the fusion occurred.This residence toppled all her notions of time,technique, environment and apprenhension ; butnever mind, because Jeanne so enjoyed the totalexperience of this newly-acquired technique whichshe took on board with greed and good humour.At the end of 3 months of intense activity, she returnedto France and produced some of her most fascinatinginstallations or sets. Indeed, her ceramics / paintingsassemblages are really versatile and she’s neverafraid of using both the qualities and the faultsinherent to both media ; in fact she quite enjoysdoing so ! The result is flamboyant. We see one-offpieces, multiple molds, transpositions from drawings,enamelled inventions, false vessels, vegetable forms,hybrid forms, sculptures... Vibrant and sensualvariations on the theme of Nature and Landscape.Set on a speckled granit plinth, green pots, likehollowed out trunks with pouring lips, stand erectlike some sort of wobbly forest alignement – theyare glossy and huddled together maybe to watch orto grow ? The toneware cliff seems to incarnate thevery Earth, a geological slice, a compact and bruteforce, where artist and matter come face to face.The one-off modelled pieces with plantlike forms andcolours (plants and trees) are clearly organic withuneven dips and bumps left on purpose by the artist’sfingers and they are sensual and volumptuous, be theycovered in white, blue or pink opaque milky enamel.Resemblance with anything real, either in shape orpattern, is not the point. It’s the installations andcombinations of Jeanne’s ceramic pieces which showus her multiple experiences (connected to real things)and must be read as a whole landscape; each element,fragment or group of items go to make up the whole.We must acknowledge, in this process, the spiritof the painter, the narrative effect, the decorativeflourishes, the focus on series, the risk-taking andthe transgression. In this elaborate and rich mix ofsculptures, objects, rhythm and tension, a structureappears in a choreography which emphasizes thecomplementarities and the oppositions. It’s a verystrong statement about both landscape and painting,with references to Mondrian andto « l’Origine du Monde ».
114 115L’Origine du Monde,céramiques,photo de l’artiste,2016Crédits photographiquesPhilippe CaduDamien AspeJean-Marie PeyrePatricia Huchot-BoissierDirection artistiqueEdith Mercier & Jeanne LacombeConception graphiqueEdith MercierTraductionLéa YaunerRelecture & correctionsChantal Fontaine, Brigit Bosch,Jean-Marc Lacabe et Jean-Paul Thibeau,Marie-Hélène GalanLes cinquante premiers exemplaires de cetouvrage sont numérotés et signés.L’ouvrage est composé avec le caractèreFaune, créé par Alice Savoie dans le cadred’une commande du Centre national desarts plastiques en partenariat avec leGroupe Imprimerie Nationale.Ce livre a été imprimé sur les presses del’imprimerie Escourbiac, à Graulhet, surun Surbalin Glatt pour la couverture,du Munken Print pour les dessins etdu Symbol Matt pour recueillir lesphotographies d’oeuvres.
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PRISES DENOTESJeanneLacombeBégueri
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Cet ouvrage a été réalisé avec
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6 7Quelle est la place de la céram
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10allowed me to deepen my love for
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14 15Imagination& subbconscienceSyl
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Nymphéas, 100/100 cm, peinture gly
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Cité internationale des arts de Mo
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Le Bosphore, Istanbul, 100/100 cm,
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Les Garçons de Tanger, 80/100 cm,
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Carnet de voyage, Détroit de Gibra
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L’Orage, 100/100 cm, peinture à
Page 46: La Maison, 120/100 cm, peinture à
Page 50: Le Bosphore, les jardins de Dolmaba
Page 54: Image de la résidence de septembre
Page 58: Paysages méditerranéens, 84/61 cm
Page 62: 60 61Jardin Sophistiqué, 161/91 cm
Page 66: Mélancolie, 72/52 cm, peinture à
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Page 78 and 79: Moving, dessin de la série Polypty
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Page 83 and 84: Vue de l’exposition Sans nuage le
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Page 89 and 90: V1984Jeanne Lacombe vit et travaill
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Page 93 and 94: 106 107The reason Jeanne Lacombe ma
Page 95: 110 111nants, formes végétales, f
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