Rosanna Lefeuvre
Rosanna Lefeuvre (1993, France) studied textile and color at the National School of Decorative Arts in Paris where she graduated in 2018, with the congratulations of the jury. In parallel during her diploma year, she joined the image section of Duperré (Paris) and turned to photography. Her work is nourished by this dual training of which she wishes to preserve the richness. In 2019, she was selected and will exhibit at the Salon de Montrouge. Her work will also be presented at La Villette in Paris and at the Kosminen Gallery in Helsinki. Winner of the Innovation & Know-How Scholarship of the Bettencourt Schueller Chair in 2018, her work goes beyond photography. Some of her images are reworked with different textile know-how: jacquard weaving or printing. By this materiality, her images are part of another temporality, that of the craft and the hand work, questioning the status and the production of images today.
Rosanna Lefeuvre presented two series: Jane and L’attente
These series offer an intimate and personal vision of the representation of the female body. They question our contemporary relationship to femininity, intimacy and sexuality by summoning symbols, figures, gestures and postures from the history of painting and sculpture.
The Jane series is a set of fragments that compose the portrait of a young woman. The tight framing puts us closer to the scene, as we approach the details of a painting. The absence of face invites to daydreaming. The eye is drawn in by the light behind the opening of a curtain, by a closure that opens gently on a back or by a stain between two legs of immaculate whiteness. The series explores sensuality, softness and feminine forms, suggested by symbols of the female sex: fabrics, drapes, flowers. The pictorial vocabulary, reinforced by the colorful range, makes images that are both strange and carnal.
The series L’attente is part of Jane’s continuity and uses codes: tight framing, lack of decoration, pictorial evocations by the play between the body and the fabric or the attitude of the models. On the other hand, black and white gives way to the only poetry of the gesture and the sculptural forms of the body and draperies. Faces appear, absorbed in their thoughts, denying the presence of the photographer and the viewer. Between documentary and staging, the series gently reveals the vulnerability of its models while giving them an inner strength.
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