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Héptaméron des gourmets

l'Héptaméron des Gourmets

Exemplaire N°113

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   Kum Young Suk

   Andrea Branzi

   Pascal Duriez

   Fanny Boucher

   Benoît Dudognon et Stéphanie Allard

   Satomi Sakuma

   Le processus de création

   6 artistes pour une oeuvre sublimée

After studying papermaking at a French papermaking school, Benoît worked for the paper industry before training as restorer of old books. He then spent a year in Japan to complete his training with masters recognized by the Intangible Heritage Section of UNESCO. Benoit is a certified artisan of the French Chamber of Trades. Stéphanie Allard Trained in furniture decoration painting techniques from the 17th century in Europe (Uzes coat of arms), Stephanie learned the techniques of Bingata, Suibukoga and Suminagashi. 7 years ago they opened a washi production workshop in Arles, where they manufacture this paper in the finest Japanese tradition from Japanese mulberry present in the South of France. They practice the Nagashizuki technique or the art of spreading the liquid pulp over the screen.In 2000, Fanny Boucher, master heliogravure printer, founded Atelier Hélio'g, a workshop dedicated to intaglio engraving techniques and more particularly to grain heliogravure printing; the only professional workshop in France specialized in this rare know-how, and among the fifteen or so left in the world to continue the tradition. She provides her expertise and accompaniment to many artists, gallery owners and international publishers.   A member of the Grands Ateliers de France, she received the title of Master Artisan in 2015. From 2012 to 2017 has passed on her know-how and expertise to her student Antonin Pons Braley, who himself produces innovative work with gravure volumes. In 2015, she was joined by Marie Levoyet, who trained in intaglio and traditional flat gravure printing.   The workshop today offers its complete and unique expertise of heliogravure in the finest tradition of printed artist's books, as well as opening up to the fields of art furniture and design. Pascal Duriez has been running the Montquartiers print workshop since 1996, where he began as an apprentice in 1975. His grandfather before him finished up as workshop head and his mother took care of its general running. A natural vocation for this lover of art editions. Pascal experiences a real pleasure when he adjusts the machines, test proofs or shares his expertise with Celine Metayer, a former apprentice at the workshop who is now his workshop partner. This master printer and former Gobelins student works on 5 typographic presses among these, a 1930 Niebolo and a 1940 Phoenix which were used in the filming of Lucie Aubrac. "A page is an image. It gives a total impression, presents a block or a system of blocks and strata, blacks and whites, a patch of a figure and an intensity more or less pleasing. A second way of seeing it that is not successive, linear and progressive like reading, brings typography closer to architecture (...) Because of this independence of qualities that a book can possess, printing can to be an art.” Quoting Paul Valéry, Pascal considers typography as an art, not based on a simple case of characters, rules or codes. It's also about placing the text on a page, to compose it, to find the best harmony between the text and its possible illustrations, and between the text and its image. Today, Pascal works for art publishers looking for an old-style print feel coupled with the work of a real goldsmith. Satomi Sakuma is a stylist and author of the book Sashiko d’hier et d’aujourd’hui (Sashiko of Yesterday and Today). Born in Japan, she graduated from Tokyo's famous Bunka Fashion School, which included such students as Kenzo Takada and Yohji Yamamoto. After her studies, she arrived in Paris to work at Kenzo where she spent 16 years in a close collaboration rich in experiences. Today, Satomi Sakuma specializes in Sashiko Japanese embroidery, a traditional embroidery technique intimately linked to the history of Japan, and one with which she takes great artistic freedom. Quite naturally she chose the Boro (rags in Japanese) often used in the Sashiko technique. The Boro are old fabric patches, endlessly repaired through necessity and economy, which often come from workwear dyed with indigo. For NUNCHI, she gives a new lease of life to these old Japanese fabrics that are already rich with many lives, to produce Boros where she organizes and positions these valuable fabrics in much the same way as a painter seeks balance in a painting, then she carefully selects the corresponding colored threads and sewing techniques.The NUNCHI gallery bears the name of a Korean concept, so quite naturally it turned to a Korean artist to personalize each box protecting it first publication. Life is the reason for the brushstroke, and the reason for art. The stroke that makes the other come alive; it is the trace of the movement of life that includes both the notion of time and existence. The very substance of art where we listen to the breath. The stroke that carries its existence as it is; the stroke that makes the world breathe by its life force; the stroke that gives energy where there is no more impulse; the stoke that offers a balance of forces; the stroke whose light shines to make things grow; the stroke that consoles in silence; the stroke that is also a great sound like an oracle, with a rhythm like music ... So what is a stroke of this form that comes to life at the moment of creation? The strokes of ink penetrate deeply by taking with them all the imaginary elements, leaving the trace of the gesture’s fast and slow rhythmic movement. Even the strokes that are thirsty and those that are lost, all become part of the process to fulfill the expressions of life. Whether alone or intermingled, the strokes are a condensation of time. In the infinite quest, it can be the shape of roots or branches, or other less formal subjects. Strokes of nature are the trace of life; the conscious and unconscious, chance and the intuition of the artist are all represented with the movement of the brush and the variety of tones of the ink. The strokes are often cleaned off and disappear, empty, they fill again. By smoothly applying the substance as a brushstroke does, all its vitality is revealed and the artist seeks the life that is given word in creation. Thus, art is an approach to seeking what is intrinsic to life.