RECENT WORKS
LAND(E)SCAPES
The Land(e)scapes series, produced over a period of more than four years, seems a more concrete expression of what is going on in both Lefeuvre’s painting and his unconscious. The works transcribe the density of time from a mass of memories, while lightening the weight of distressing experiences. Employing the devices of an art form derived from plasticity, the artist also used incongruous tools from his everyday domestic life.
SELF ARCHEOLOGY
In 1987–88, I buried two boxes in my grandparents garden in the country. They were filled with objects that were very dear to me and an important part of daily life at that time. I was driven by a desire to leave a mark, traces, almost archeologically, like Spoerri. I’ve never dug them up. Do I want to see them again? I don’t know.
WEDNESDAY WEDNESDAY
For five years, every Wednesday, I looked through photos that I had taken, or others that I had found on social media, and sorted them, cut them out and arranged them. The images on social media have popularized photography, but have also made it more commonplace. Everything goes too quickly: the picture is taken, looked at, and consumed widely and in quantity. It is a reflection of a world that is moving too fast in many areas.
RADIOGRAPHIC
Radiographic originated from an olfactory memory. Using stencils*—old papers on which Lefeuvre’s grandfather, a notary, wrote deeds—unearthed in the family archives, the artist rewrote a certain passage of time, using these objects as creative aids to put together an intimate, familial archeology.
THE STATE I AM IN
“The State I Am In” is perhaps the most graphic of the artist’s ink works. Featuring dense, tightly packed motifs, the works amass signs and symbols obtained by printing with the stamps and seals purchased by Lefeuvre in Asian markets. Using automatism—a sort of syncopated shorthand, an executory communication in ink.
