In Japan, lacquer is appreciated as a prestigious art.
However, this is an ornamental art, always linked to the “dressing” of objects, with the finesse of goldsmith.
While learning the constitutive gestures of this practice, my approach as a contemporary designer very quickly led me to return the subject: above all, do not create objects for which the lacquer would only be redundant or even displaced, but find objects with their own history and change the status of the gaze by using lacquer. I wanted to give lacquer its precious value. Instead of protecting or serving a decoration, a surface or a reflection effect, I seek that lacquer gives a status of relics, of talismans to “ordinary” things, to anonymous, abandoned objects.
It becomes a revealer of the objects, revealing the unsuspected depths.
My meetings with Japan are marked with mixed discoveries and intimacies: these forests of unknown ideograms like the narrative signs of Michaux, the garden of stones arranged like an offered landscape, a lacquer in the shade like a relic in a kiosk…. the elements meet in a common space at first ignored. I work in this space, which superimposes memories and gestures. This space that slips into the multiple layers of lacquer like submerged palimpsests. The lacquer marks passing time, it’s the link, the interstice of memory .
Through the technique of lacquer by its labor, its slowness, its preciousness, I find the time spent watching our mother “mend” with tenderness our clothes, observing the wind pushing the clouds, picking up these pebbles in my deformed pockets …
All these moments finally bear a legend: the intuition of beauty is foreign to words, not to things.
I feel in deep harmony with the way the wear of time is magnified by Japanese art.
I found a path to engage my artistic work, a space-time that I continue to explore. The preciousness of vegetable lacquer – urushi – in use and place in Japanese space reveals the essential part of the sensitive. My work for 40 years is closely linked to this “object” charged with the “poignant melancholy of things”. (Mono no aware)ignored. I work in this space, which superimposes memories and gestures, the one that slips into the multiple layers of lacquer like submerged palimpsests The lacquer is there to mark the passing of time, it is the link, the interstice of memory .
I find through the lacquer technique by its labor, its slowness, its preciousness, the time spent watching our mother “mending” our clothes with tenderness, observing the wind pushing the clouds, picking up these pebbles in my deformed pockets , … All these moments finally bear a legend: the intuition of beauty is foreign to words, not to things. I feel in deep harmony with how the wear of time is magnified by Japanese art. I found there a path on which to engage my artistic work, space-time that I continue to explore to this day. The preciousness of vegetable lacquer – urushi – in its use and its place in Japanese space reveals the essential part of the sensitive. My work for 40 years is closely linked to this “object” charged with the “poignant melancholy of things”. (Mono no aware)
May – november 2018 : Resident in Kujoyama’s villa in Kyoto (Japan)
From 2002 : teacher of natural lacquer in the École Nationale Supérieure des Arts Appliqués et Métiers d’Art in Paris
2006/1999/1993 : Selected by the Ishikawa Triennial
1993 : Guest artist in to the W.C.C (World Urushi Culture Council) Symposium in Tokyo and in the International Fair of Lacquer and Painting Design in Ishikawa.
1986 : Master of a training course for using natural lacquer for cabinet makers in Montreal (Canada)
1980 : Founding member of the association LAC (Laqueurs Associés pour la Création).
From 1990 : Establishes a status for inanimate objects by the shattering, the shock, of different artists, ceramists with a restoration of gold lacquer (Kintsugi)
Summer 2020 : Donghu Shan Art Museum Wuchang District, Hubei Province. Chine
May / october 2018 : Villa Kujoyama in Kyoto (Japan)
2018 – 2019 : Hébert Museum in La Tronche / Grenoble (France) ” Esprit Japon Carte blanche à Martine Rey ”
2018 : Open studio in Villa Kujoyama, Kyoto (Japan)
2018 : « The use of shade », le Belvédère, St Martin d’Uriage (France)
2017 : TENRI Kulturwerkstatt Art Gallery, Cologne (Germany)
2015 : “Impermanences” Agne photographies, Martine Rey laques, Corenc (France)
2012/2013 : « l’Éloge de l’oncle », musée Mainssieux Voiron (France)
2012 : « Urushi » Museum für Lackkunst Munster (Germany)
2011 : Artlife Mitsuhashi Gallery, Kyoto (Japan)
2010 : With Laurence Klein, Renata Ulrich, Lormarin’s Gallery Nocé (France)
2009 : Zig Zag Gallery, Grenoble (France)
2008/2006 : With Laurence Klein, Lormarin’s Gallery Nocé (France)
2007 : Embargo’s Gallery, Paris (France)
2005 : L’Estancot,Voiron (France)
1983 : Galerie du Pont, Paris (France)
1982 : with Jean Pierre Umbdenstock, Arcadie’s gallery Lyon (France)
1981 : Gallery G.A., Kyoto (Japan)
1981 : Galerie Marc Pessin. Saint Laurent du Pont (France)
Main Group exhibitions
- 2020 “Laque, regards croisés” with the association LAC, Forney’s library Paris (France)
- 2019 : Festival VivaVilla ” La fin des Forêts” Collection Lambert Avignon (France)
Nuit Blanche “écouter la nature’ Terminal Kyoto Kujoyama’s villa, Kyoto (Japan)
Triennial of lacquer, Wuhan, (Hubei) (China)
Contribution in « Première Vision », Maison d’exception with Kujoyama’villa Villepinte (Paris)(France)
- 2018-2019 : Hébert Museum in La Tronche / Grenoble (France) ” Esprit Japon Carte blanche à Martine Rey ”
- 2018 :“Ästhetik in Japon” Bonn (Germany)
- “lacquer friends of the world “Museum für Lackkunst” Munster (Germany)
- “Création sous influence” 60 years of commercial relations between France and Japan Kyoto, Tokyo (Japan)
- Toguna /installation / Palais de Tokyo Paris (France)
- 2017 :
- «Scars against the Skin and in the Soul TENRI Kulturwerkstatt Art Gallery, Cologne (Germany)
- Contemporary lacquers, Ménil Gallery, Paris (France)
- 2016 :
- In July : International Lacquer Art Biennal, Fuzhou (China)
In June “Pensées Sauvages ”, Dourdan (France)
l’éloge du Papier, Saint Laurent du Pont (France)
- “Lacquer- the Art of Surface” Handwerk Gallery ,Munich (Germany)
- 2015 :
- “Sur la Voie du Thé ”, Giroussens, (France)
- Salon révélations Grand-Palais, Paris (France)
- 2014 :
- (K)RÂNES 42 catacombe artistique Musée Dauphinois, Grenoble (France)
- Lormarin’s Gallery Nocé (France)
- 2013 :
- Tarot-22 artists LADS Gallery, Osaka (Japan)
Maison des métiers d’Arts, Pézenas (France)
- 2012 :
- Voutes Dausmenil, Paris (France)
- 2011 :
- Taiwan International Treechi Art Exhibition ,Taipei (Taïwan)
- 2010 :
- Zig Zag Gallery, Grenoble (France)
- 2008 :
- artist jewelry galerie Zig Zag Gallery, Grenoble (France)
- 2008 /1981 Contribution to the exhibitions of the association LAC
- 2006 :
- Museum für Lackkunst Münster (Allemagne)
Bibliothèque Forney Paris 3°
- 2006/1993 :Ishikawa Triennial (Japan) Kwon Sang Oh Award in 2006
- 1986 :“rendez vous des maitres-artisans ” Montréal (Canada)
- 1981-1985 : Présences des Formes, Les Angles (France)
- 1980 :“Les Métiers d’Art ” Musée des Arts Décoratifs Paris, (France)