2020<\/p>\n
installation vid\u00e9o<\/p>\n
<\/p>\n
Invited by C\u00e9cile Debray, then director of the Mus\u00e9e de l\u2019Orangerie, as part of a contemporary counterpoint to Claude Monet\u2019s Nymph\u00e9as<\/em>, Ange Leccia immerses himself in what may be considered the painter\u2019s absolute masterpiece: the artist\u2019s garden at Giverny. Taking advantage of an evening and the very early hours of the morning, when the site is closed to the public, the video artist absorbs Monet\u2019s environment. Alone, enclosed within the Impressionist\u2019s bubble, Ange Leccia films relentlessly every corner of the garden, as if seeking to capture its very essence. Once again, the work resonates as an ode to the vegetal world and evokes his apprenticeship in Shinto culture. Yet despite the apparent lightness of this video installation, Ange Leccia also seeks to reveal an Eden created at a time when Europe was undergoing profound geopolitical upheaval. While, on the other side of the Seine, trains departed for and returned from the front during the First World War, Claude Monet was constructing a space that functioned as a refuge. Amid the turmoil, the artist continued to create, to paint. For Ange Leccia, this idea of creation within a context of destruction resonates as a sign of hope\u2014one that remains deeply meaningful in today\u2019s world.<\/p>\n <\/p>\n <\/p>\n","protected":false},"featured_media":23292,"menu_order":0,"template":"","class_list":["post-23303","oeuvres","type-oeuvres","status-publish","has-post-thumbnail","hentry"],"yoast_head":"\n
\nAfter observing the great Nymph\u00e9as<\/em> at the Orangerie, he casts a \u201cfilmic gaze\u201d upon the garden: inspired by cinematic techniques, the work unfolds like a narrative. Just as the viewer must move in order to fully appreciate Monet\u2019s paintings, Ange Leccia\u2019s camera also wanders through the spaces, following a path that takes the form of a philosophical\u2014almost spiritual\u2014journey. Indeed, it begins in the most distant part of the garden and gradually moves closer, eventually reaching the painter\u2019s house. Little by little, the artist, like the viewer, enters Monet\u2019s work and appropriates the site, transforming it into a dreamlike, reassuring, almost familiar space.<\/p>\n