APPOINTMENT WITH AN ARTIST (EPISODE 4): LUCIE MONIN, POETRY AT YOUR FINGERTIPS

BY CELIA MASTORCHIO-FABBRI

You revisit a traditional skill. For some years now, manual creative arts have tended to get lost and are not necessarily recognized by the public. Moreover, luxury brands are fighting to promote the learning of these arts before they decline. How did you discover gilding and why did it transcend you to the point of wanting to keep it alive?

I fell in love with this art and its history about 17 years ago. I initially wanted to become a book restorer since I have always been fascinated by archaeology and ancient objects, including writings. It was while studying at the Centre des Arts du Livre, formerly within the Arts Déco, that I discovered these books covered with gold filigree engraved on leather worn by time, reflecting a style, an era and a history left untold.

I quickly became immersed in it and was able to start exploring new materials and different designs thanks to a stint at the Ecole Bleue, a school of architecture and design. The Balenciaga house also allowed me to really get my feet wet. This know-how attracts me by its authenticity, the need to call upon patience and passion. I also have a great freedom of expression since this technique is halfway between craft and art.

Can you tell us about this precious art of yours. For what kind of needs do brands call on you? How do you approach the development of a project?

My work is deliberately precious because of the material I use - gold - but also because I make everything by hand. Houses contact me to create unique designs that will be marketed in limited series or as exceptional pieces. These artistic collaborations come naturally when the universes but also common values of excellence, meaning and humanity come together. When a project starts, there is always the research phase; I present sketches and different graphic proposals, one of which will be retained. I have also been working with brands for 10 years for the engraving of initials for events in France and abroad. I always enjoy sharing my art with clients who are sensitive or simply open to discovery.

From wall murals to handbags to interior design, your supports are varied. In terms of techniques, how does the process of engraving on a wall differ from the one on leather or any other material? How do you choose the latter? And how do you adapt your work to them?

As I have chosen to always use the same technique, I adapt the support to it. The field of possibilities remains wide because many materials can accommodate these gold filigrees: such as wood (burned, varnished ...), Plexiglas, paper, wallpaper, soapstone, acetate, lacquer ... I choose the supports according to the feasibility but also according to the aesthetic aspect because the result must be strong and consistent.

You have achieved the feat of gilding leaves. We realize that everything can be an element conducive to sublimation. What is the most unexpected or atypical project you have worked on?

I like to play with objects or surfaces. Yes, I presented a rather unexpected and atypical project at the Hoxton Hotel last June during my exhibition "L'Antre de Lucie Monin". It is an artistic collaboration with the photographer Laurente Depaepe: a limited series of photo portraits (70cm x 100cm) entitled "Balance", evoking the balance of shapes and volumes. The gold pointillism underlines the light areas, creating relief but also an osmosis, a balance between the two techniques. We are currently imagining other series to come. The result is very singular, very precious and fits wonderfully in the decoration!

What project would you love to do?

The project I dream of would be to express myself through an entire space, intervening from the floor to the ceiling, passing by all the walls and objects linked to this place in order to create a precious cocoon in which one comes to dream, read and feel good... A good environment maintains the spirit, doesn't it? Beyond the artistic creation in itself, as worked and harmonious as it is, hides a search for meaning.

Beyond the artistic creation in itself, as well worked and harmonious as it is, there is a search for meaning. What do you want to tell? And how do you insert this narration through the drawing?

I wish to emphasize the softness, the femininity. The idea is to give life to all my creations, to create movement through each work: to bring a rhythm, to define pauses, to express a poetry, a story and to find a notion of aesthetic balance. I like the notion of surprise, to intervene where one does not expect it.