ART INTERVIEW 2024
Arthur Lemonier:
Of this elusive, I’m an accomplice
THE ART OFFICE, LONDON
December 3 - 19, 2024
DEC, 2, 2024
Ahead of Arthur Lemonier solo exhibition Of this elusive, I’m an accomplice we had the good fortune to talk with the Parisian based artist about their art, passion, and the role emotion plays in his work.
Of this elusive, I’m an accomplice is presented by TM Projects in collaboration with the Art Office, an art advisory and project space based in Primrose Hill, London.
It’s really great to have this opportunity to talk with you, Arthur. With your first solo exhibition opening in London at The Art Office next week, are there any nerves?
Thank you for having me.
I think I don’t even realise what’s going on right now. It’s been a year full of production so I didn’t even take time to make some deep introspection about it. What I can say is it’s a huge honour and excitement to have my work here in London, curated by TMProjects, for a few weeks.
The response to your work has been really inspiring; Chirine Hammouch's review in The Steidz showcases the uniqueness of your work. Does this type of praise and understanding of your work add an extra pressure, or are you able to take a deep breath and enjoy the journey?
It’s adds more subtlety to my work. Having these kinds of critics is fulfilling. Sometimes I don’t see what people can take in my work and it’s always a great pleasure to read what people think about it. It’s anchoring also my practice in time and create some “checkpoints”of where I am. But of course I’ve accepted the deal of carrying my bag of doubts everyday. So some days I can take a step back and enjoy, others I can feel totally powerless and anxious about my practice. The way I’ve found to enjoy it is by laughing. I know it might be weird, but my nerves are releasing informations that way. It’s allowing me to take stuff more lightly.
Do you recall what your first exhibition was like?
The first one ever was 3 years ago with friends who contacted me to exhibit during their vintage pop up store. Looking back at my work from this time is…cringe. But it’s fun to see retrospectively the ride. I think Arthur from 3-years ago would laugh if he knew what’s going on right now.
Since that time, what would you say have been the biggest changes you’ve seen in yourself as an artist and the work you’re creating?
Ouch, a LOT. My eyes and senses has developed themselves in an even more contemplative way. I also challenge myself a lot more about techniques; I’ve realised that painting is not just about create and put material on a support. I can also trace some journey and feelings seeing paintings from a year ago for example. Of course, there’s often some messages around the subjects but it’s also serving as a intimate diary, seeing how events have affected me. Back in 2022, backgrounds were black. One bold choice haha. But from 2024 I wanted to explore and let go of certain elements I was stuck in. To paint everyday, is letting go constantly.
Your new exhibition, Of this elusive, I’m an accomplice, is being supported by TM Projects. How important are partnerships like this for artists?
It’s about building something together. About values and vision. That’s why it’s important to be aligned with people you’re working with so the work flow is easy. Understanding what’s at stake for both of us as emerging gallery and artist.
Can you talk me through Of the Elusive, I’m an accomplice. What did you want to say with these works?
I want to bring some discomfort and let live the duality and paradox we have, everyday. To maybe stay constant with change and conflict. To live with doubt and undecisiveness. Nothing has to be written in stone. Let the compas take its ride.
It’s also about reactions facing the world we live in. Some fear and pleasure, serenity and uneasiness. I want it bo be limitless, without contour shaping an identity. Those faces and bodies are taking all the space and claiming attention, some being observed, some watching. They give all their vulnerabilities to the viewer.
The title refers to the of notion of uncatchable, something not easy to resume or understand. And I’m taking part in it for this time. Playing with identités and fluidity.
What does emotion mean to you as Arthur Lemonier?
That’s a big question! It’s a state, and as any state, it can changes and oscillates between different levels or aspects. It’s something we carry, sometimes being aware of it, sometimes overtaking us.
And how much does the emotion that you feel allow you to explore it in your work?
Short answer, depending on my moods. My works can be super blended or full of brushstrokes. My way of working with paint is relying on the daily menu my state is in. That can be scary, but it’s a great way to always surprise myself. I never know whats gonna be the finality.
Does the emotion impact the narrative you want to create?
I want an ambivalence and to keep openness in my practice and so, on the global impact. Since a few months, I’ve been working on how physiologically, emotions can be blurred. The take is about playing with an orgasm, an uneasiness or a agony. Physiologically, and for most people, you can extract an emotion but you can’t tell what’s truly about.
Where did your passion for art come from?
It came really young. First, when I was a kid, it was fashion. My parents used to show me Jean Paul Gaultier shows or bring be to concerts. It was a lot about pop culture when I was little. I sketched a lot of silhouettes or faces. But paint came later, the first I truly remember painting I was 19-ish ? And came back to it when I was 23 because I was letting go of my childhood dreams because of the world of fashion not being desirable anymore and my new vision about my passion and life.
Did your fashion background help influence your move into art?
Actually yes. I was working in thrift shops for several years now and I got fired because of economical issues we encountered. So after having nothing, I could only developped my style. It was freeing to give some free time to that part of my life. It has also sensibilise my eyes to colors, textures and creating worlds. But it’s mostly to paint the failed canvases that helped me haha.
Is it hard to let go of work once you’re finished? I find it very hard to hand over a review once I’ve written it. I know I have to, but part of me becomes so locked in the work that handing that over to strangers to read makes me feel very vulnerable.
Well, we put ourselves into these pieces we create, so I totally get you ! I’ve found a way to put distance and remind to tell myself “Fuck it”. I think we are lucky to have this job as a living, and it’s normal to focus on it, but as I’m stepping back, I’m remembering this phrase I heard from a creative director of a Parisian couture house “We are arguing on a rose if it should le more left, more to the right. Guys, it’s not that serious, let’s just make it”.
But of course, I still have some anxiety while sharing my work with people, maybe it’s something that we’ll never get used to? Almost like performers are nervous to go back on stage after a few years of creation. It’s about our fear of disappointing people or maybe some internal shame we can feel. I don’t know…The antidote would be to feel the more convinced we can be.
What does your art say to you?
It’s really hard to respond to this. Maybe when I’m be 80 I could tell you.
"It’s allowing me to develop concepts I’m
thinking about already for next projects."
Of all the work you’ve created, is there one piece that you’re especially connected to?
I love Recondite from the show. This up close green-turquoise body with a thong. This is typically my colours. I really enjoyed making a super blended body and a more expressive texture on the underwear, making it empty and full at the same time, to let people with doubt around biological attributes. I met a lot of people curious about what people have between their legs. They need a clear response, black or white ; they can’t let thing with a question mark, involving deeper elements shaping our identity.
Who have been some of your inspirations?
I love the work of Anthony Goicolea, a contemporary painter working beautifully is brushstrokes marks. The diversity of LITERALLY EVERYTHING AND EVERYONE in Jean Paul Gaultier shows. I’m also a huge fan of the work of Christian Van Minnen and Rae Klein. And my last obsession is the world of Annie Lapin : I could observe her works for HOURS ; it’s so rich.
Do you have a favourite artist's quote?
“Le péril s’évanouit quand on ose le regarder / Danger vanishes when one dares to look at it.” - Chateaubriand
This one always sticks with me and I think about it quite regularly; it speaks for itself.
What have you taken from Of the Elusive, I’m an accomplice?
Recondite. The quest of uncatchable. It’s allowing me to develop concepts I’m thinking about already for next projects. Bring a deeper and even more intimate view on the world I hoping for.
And equally, what would you like people attending Of the Elusive, I’m an accomplice in London, to take away from your work?
That people can bring with them how they feel about it. Carry with them back home the feeling it left, however it was. Ideally not putting assumptions about what it says visually, but how it feels. And more ideally, stay fluid and play with oneself.