A FRESCO, La Manufacture de l’image, 2017.
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Because her burnt-wood drawings unmistakably resemble frescoes, Élisabeth Leverrier aligns herself with a tradition that reaches back to the origins of art. Yet her intent remains firmly grounded in today’s reality—her supports, now ephemeral walls, no longer unfurl friezes of galloping horses or bison, nor do they open onto the mysteries of a trompe-l’œil landscape. The artist seeks to capture energy waves that emanate from certain places and transfer them onto the surface she inhabits, covering it with traces, lines, and signs. Her gesture brings something vanished back to life, as figuration gives way to abstraction.
A fresco invites us on an initiatory journey, one that seeks the visible within the invisible, presence within absence. The walls of Plato’s cave are covered in flickering images that must be dismissed as illusions of captive minds; Élisabeth Leverrier’s fresco evokes the dancing shadows of the past, and the waves she captures call us to contemplation…
Jeanne Verdun