{"id":5405,"date":"2017-04-03T18:15:45","date_gmt":"2017-04-03T16:15:45","guid":{"rendered":"https:\/\/2022.devartistics.com\/artzine\/calligraphie-et-art-contemporain-lumi-mizutani-23\/"},"modified":"2023-07-19T16:06:42","modified_gmt":"2023-07-19T14:06:42","slug":"calligraphie-et-art-contemporain-lumi-mizutani-23","status":"publish","type":"post","link":"https:\/\/artistics.com\/fr\/artzine\/calligraphie-et-art-contemporain-lumi-mizutani-23\/","title":{"rendered":"Calligraphie et art contemporain : Lumi Mizutani (2\/3)"},"content":{"rendered":"

Calligraphie traditionnelle et art contemporain : 3 questions \u00e0 Lumi Mizutani<\/p>

Trois artistes de la galerie ont choisi de puiser dans la calligraphie, art majeur de l\u2019Extr\u00eame-Orient et source de toutes les autres formes d\u2019expression, les ressources picturales et\/ou philosophiques qui alimentent aujourd\u2019hui leur pratique artistique. Nous avons d\u00e9cid\u00e9, \u00e0 travers une s\u00e9rie de trois articles, d\u2019interroger chacun d\u2019eux sur l\u2019origine et la nature de cette influence. Aujourd\u2019hui : Lumi Mizutani<\/a>.<\/p>

\"\"\/
Sans Titre I (2013), s\u00e9rie Calligraphies, Lumi Mizutani. Encre de chine sur papier japonais, 50 x 54 cm.<\/figcaption><\/figure>

<\/p>

N\u00e9e \u00e0 Nagoya, au Japon, Lumi Mizutani<\/a> s’installe en France au milieu des ann\u00e9es 1970 et se forme \u00e0 la lithographie, qui constitue l’essentiel de sa pratique artistique jusqu’au d\u00e9but des ann\u00e9es 2000. A cette \u00e9poque, elle entreprend un \u00ab\u00a0r\u00e9-apprentissage du travail \u00e0 l\u2019encre\u00a0\u00bb, d’abord avec un maitre chinois, puis avec un maitre japonais. Les possibilit\u00e9s quasi infinies offertes par le dialogue entre ces trois \u00e9l\u00e9ments (l’encre, l’eau et le papier) lui ouvrent de nouvelles perspectives qu’elle ne cesse depuis d’explorer : \u00ab\u00a0je me laisse entra\u00eener, au gr\u00e9 de ses caprices, par cette mati\u00e8re qui flotte, p\u00e9n\u00e8tre puis d\u00e9vore le support.\u00a0\u00bb dit-elle au sujet de ses oeuvres \u00e0 l’encre de Chine sur papier.<\/p>

Au-del\u00e0 des techniques traditionnelles, Lumi Mizutani<\/a> utilise des outils et des techniques qui lui sont propres, comme un \u00e9lastique qu’elle trempe dans l’encre de Chine. Sa s\u00e9rie \u00ab\u00a0Calligraphies\u00a0\u00bb est peut-\u00eatre celle dans laquelle s’exprime le plus cette d\u00e9marche exp\u00e9rimentale : \u00ab\u00a0Certains ma\u00eetres, on ne peut pas les d\u00e9passer. Donc il faut ajouter d\u2019autres choses qu\u2019ils ne connaissaient pas ou ne savaient pas utiliser.\u00a0\u00bb<\/p>

L’une de vos s\u00e9ries s’intitule \u00ab\u00a0Calligraphies\u00a0\u00bb. Pouvez-nous parler de ce projet : quand l’avez-vous initi\u00e9 et quelle \u00e9tait votre intention ?<\/strong><\/p>

J\u2019ai commenc\u00e9 ce projet il y a une dizaine d\u2019ann\u00e9es, apr\u00e8s une p\u00e9riode pass\u00e9e \u00e0 travailler intens\u00e9ment sur la nature, avec l\u2019encre. J\u2019avais envie d\u2019\u00eatre encore plus libre, et c\u2019est ce qui m\u2019a conduit \u00e0 faire des oeuvres abstraites.<\/p>

\"\"\/
Musique (2013), s\u00e9rie Calligraphies, Lumi Mizutani. Encre de chine sur papier japonais, 50 x 35 cm.<\/figcaption><\/figure>
\"\"\/
R\u00e9versible (2013), s\u00e9rie Calligraphies, Lumi Mizutani. Encre de chine sur papier japonais, 50 x 41 cm.<\/figcaption><\/figure>

Pour cr\u00e9er les oeuvres de cette s\u00e9rie, vous n’avez pas utilis\u00e9 de pinceau, mais des objets\/outils \u00e9trangers \u00e0 la tradition calligraphique. Pourquoi ?<\/strong><\/p>

La calligraphie traditionnelle est destin\u00e9e \u00e0 dessiner des lettres. Bien que ce soit int\u00e9ressant, ce n\u2019\u00e9tait pas le but de ma peinture. Mais j\u2019ai eu l\u2019id\u00e9e de partir de l\u00e0 pour chercher d\u2019autres moyens de peindre, d\u2019une fa\u00e7on calligraphique.
Ce que j\u2019essaie de trouver, c\u2019est une expression libre, qui part du corps et se dirige vers l\u2019infini, au-del\u00e0 de l\u2019espace d\u00e9fini par les feuilles qui lui servent de support. C\u2019est cette envie, sans doute \u00ab\u00a0philosophique\u00a0\u00bb, qui est \u00e0 l\u2019origine de ce travail.<\/p>

Au-del\u00e0 de cette s\u00e9rie, l’influence de la calligraphie japonaise est-elle pr\u00e9sente dans votre travail ?<\/strong><\/p>

Oui, cette influence prend une forme tr\u00e8s simple : on peint avec le corps, pas simplement avec un pinceau \u00e0 la main.<\/p>

En savoir plus sur Lumi Mizutani :<\/strong>
> Consultez notre entretien-vid\u00e9o<\/a> dans son atelier parisien
> Consultez l\u2019ensemble de ses \u0153uvres en vente sur Artistics<\/a><\/p>

Dans la m\u00eame s\u00e9rie :
<\/strong>> Calligraphie et art contemporain : 3 questions \u00e0 Hachiro Kanno<\/a>
> Calligraphie et art contemporain : 3 questions \u00e0 Hongyu Zhang<\/a>
<\/strong><\/p>

\"\"\/<\/figure>","protected":false},"excerpt":{"rendered":"

Trois artistes de la galerie ont choisi de puiser dans la calligraphie les ressources qui nourrissent leur pratique artistique. A travers cette s\u00e9rie de trois articles, nous avons interrog\u00e9 chacun d\u2019eux sur l\u2019origine et la nature de cette influence. 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