Jean-Claude Mathieu (born 16.01.1951)
I recently spent time with Mathieu at his studio in France discussing his 'démarche', his point of departure, his aims and his ideas on figuration in general, and his influences.
Mathieu told me he believes, “La beauté nʼexiste pas. Il faut vivre la beauté pour en avoir conscience.” For him, the process of sculpting is the living of beauty, the means by which beauty can be truly realised. To receive one has to forget the self, to empty the consciousness in order to see, and then use the consciousness to translate. Hence always working from the model is essential in order to be able to capture the immediate, to make a fresh discovery every time. One must always see the totality, and the detail in relation to the totality. So for Mathieu, he lives what he sees. In this moment of attention the self is forgotten. It is a state of meditation, with a sensation of the physical. In this state there is no division.
Mathieu starts working with a new model over several sessions to see if the model can hold a pose and if she/he can give of her/himself. Several drawing sessions help put the model at ease and help find the pose he wants. One has to find a pose which corresponds to the model. In fact, the model effectively proposes the pose. The pose must correspond to and capture the character/psyche of the model. The model must give of herself, be aware of the body and give of the body. The model makes the sculpture. The best model is ʻgenereuxʼ. When generous of herself, the process flows; it is like a gentle breeze or music. For example, recently working with a dancer, Floran, the work poured out of him.
He has worked with some models for ten years. Pieces are revisited over a long period. He has been working on the large sculpture Le Rencontre, for example, for over three years, revisiting it always with the model.
Mathieu sees the sculpting process as happening from the inside to the outside. It is as if there is a seed which is allowed to grow through him. This is the exact opposite of starting with a block of stone and chipping, chiseling away to ʻrevealʼ the sculpture.
Then there is the mastery of technique. The technique translates the moment of living beauty. Technique must be in the service of nature, of the life which animates the world. One must have so mastered oneʼs technique as to be unaware of it. Mastery of technique gives freedom. Drawing is the essential skill. And sculpture is but drawing in space. This is where Mathieu takes issue with art schools thinking that they can teach creativity and dispense with technique. For Mathieu, creation cannot be taught....it is a state of oneself. Technique translates creation to the visible.
One can see Mathieu clearly in the figurative tradition…a tradition which has never stopped. In fact, there has been no ʻruptureʼ as the avant garde and contemporary art world would have us believe…just as there has been no ʻprogressʼ in art, a post-enlightenment scientific concept inappropriate to art.
Mathieu has designed and made his own ʻmachineʼ for enlarging sculpture which he set up in his atelier in the Vendée in 1980. The machine is like a 3D artograph machine made with old bicycle wheels, steel wire and weights! Making enlargements for other sculptors has been his bread and butter. It has also meant he has examined very closely the work of others of course. Also, having this ability means that Mathieu has pieces of varying sizes which he has enlarged for himself.
He has won prizes for his works and collaborated with sculptors such as Cacheux, Kretz, Auffret, Ginioux, Gadene, in the realisation of many public monuments. He cites as his main influences his ʻmaîtresʼ Kretz and Auffret, who were in their turn influenced by Bordele, Maillol, Rodin, and Carpeaux.
Education
1968-1970 : Ecole supérieure des Beaux Arts Reims, studying under sculptors Leopold Kretz and Charles Auffret.
1970-71 : Ecole des Art decoratifs Strasbourg, working with Francois Cacheux.
1971-78 : Ecole supérieure des Beaux Arts Paris studying at the atelier Corbin-Cardot.
Selected Solo Exhibitions
2009 – ‘Les Signes du corps’, Trélazé ANGERS
2008 – ‘Sculptures et dessins’, Galerie Genty, Vouvant
2004 – ‘Dessins et peintures’, La Nef Theodelin, Vouvant
2003 – ‘Sculptures au Donjon’, Bazoges-en-Pareds
1981-2002 invited to exhibit by the towns Rochefort, Chaumont, Cholet, Laval, Le Mans
Art Salons
Salon des Sculpteurs contemporains – Nantes
Salon d’automne – Angers
Salons de Sculptures of Cholet, La Rochelle, La Roche sur Yon, Copenhagen, la Garnache, Carquefau.
Salon de sculpture de notre temps - Versailles
Awards
2002 – Prix Evariste Jonchère
2000 – Prix Dimon
1994 – Salon des artistes Français – Grand prix de dessin & Medaille Bronze dans la discipline de sculpture
1993 – Prix de la Fondation de France for the totality of his oeuvre
Public Commissions
20008/10 – Sculpture ‘Henous’ for Place Picasso, Trelaze-Angers
1998 - Sculpture ‘Kanon’ , Zen Temple of Plazac
1994 – bas relief for church of Nantes
£5000 - £30000
all bronzes are in an edition of 8 with 2 artist proofs
