THE FACES : What lies behind them ?
It could be tempting to try to find out the origin of these faces.
The artist never reveals any key to her extremely personal, private and mysterious method. She wants her paintings to be « vectors of emotions », and the faces, always androgynous, are purely a formulation of feelings.
She never uses models, these abstractions are conjured out of nowhere from memory alone.
There is something archaic and primitive in her style.
Simplicity, purity and the meticulous working of the paint itself are the tools with which she charms us. Her faces are created to be loved.
Establishing direct communication with their audience, these paintings offer the spectator his or her own reflection.
The viewer is being viewed.
THE CHURCHES : A face behind every church
Symbol, Stigmatization of our history.
Beyond any religious significance, these places of worship are first and foremost places of Meeting and Gathering (Faces), places for Interaction and for Love.
THE LANDSCAPES : Through which the faces may have passed ……
How to convey the perfection of the beauty of nature?
An invitation to travel to the very center of the emotions.
Lepine’s painting is first and foremost an act of sharing, of pleasure, of joy. Yet the artist does not ignore the balance of power between painter and canvas: it is through this struggle for domination that the quintessential emotions emerge.
La peinture de Lepine est avant tout un acte de partage, de plaisir, de jouissance. Elle n’en délaisse pas pour autant le rapport de force avec la toile : c’est à travers cette lutte qu’elle réussit à extraire la quintessence de ses émotions.
Artists’ Tributes :
Patrick Poivre de la Freta :
The work of Nathalie Lepine is understated, stripped of all excess.
Each of her creations has its own special charm and yet each canvas forms an integral part of a consistent and coherent whole.
Her unique and various figures are messengers, in the manner of a liturgical response in an antiphony.
She uses a recurring theme of long-necked figures with equally long diaphanous faces. Their eyes, sketched in a few brush strokes, stare questioningly at the viewer.
Some are reminded of Modigliani. However, unlike the variety of blank-eyed figures painted by the Italian master, Nathalie’s figures are always the same or similar, like a definitive revelation, staring straight ahead at the viewer as if waiting for an answer.
This significant difference is reminiscent for me of a poem by Verlaine:
“I often dream a strange and strangely haunting dream
Of a woman I don’t know, who loves me, and I love
And who, each time, is never quite the same
And never quite another and she loves and understands me ...”
The figure seems to be searching for an alter ego somewhere on the fringes of infinity.
Teo Bonev :
Transcendental emotion from the realm of nowhere. The realm accessible only to the chosen.