Parution d’un article de presse dans la revue internationale « 2A, Architecture et Art ».
“ My approach in all I undertake is an independent one. I advance to the rhythm of my intuitions and my desires.”
Despite studies in applied arts, Frédéric Lecoeur considers himself self-educated. From the moment he decides to overturn the traditional/classical arts and create an abrupt, shifting and absurd reaction within the spectator, his work testifies to this. In fact, when confronted with Frédéric Lecoeur’s sculptures and bas-reliefs there is no question of insensitivity or indifference: we are torn between two emotions, derision and brutality.
The sharp point of humour is present as well as that of the nail. Shoes are skewered, glass and bottles broken, the coils of the telephone pulled out and cans cut up. The artist acts like a true surgeon and plastics technician, extracting and dissecting objects to which he adds plastering techniques and paint to assemble and glue the fragments.
His sphere of predilection is the retrieval and appropriation of objects that he feels or that “speak” to him with the intention of diverting their purpose and giving them a different meaning. The most banal object, once deprived of its primary function and modified, takes on a whole new form and becomes significant. Like the New Realists of the sixties and Arman, known for his “sculpture-accumulations” (objects welded together), Frédéric Lecoeur diverts conventional structures of language.
The purely industrial consumer object is no longer waste. It becomes a work of art with a strong poetic charge though which the artist expresses an idea and a state of being. A state that is equally that of rebellion and fragility as perceived through the cold and concise cut of glass and metal, the swirls and the pure lines drawn by the springs and steel wire, the thickness of the paint and plaster thrown onto the support embedding end imprisoning its content.
The idea of consumerism is pursued in his paintings by the multiplication of advertising images that he adds to a painted base. Currently his projects are oriented towards digital photography that allows him to define his glued subject and keep his painted base. Thus, he allies modern technology and traditional painting with the intention of keeping the effect of a single, unique, work of art.
erkol 