Les artistes du LFNY
 Featured artists
Consuelo (Eames) Hanks ('45)
Henri Duroselle ('61)
Béatrice Tabah ('65)
Mira Schor ('67)
Jane Trigère ('67)
Muriel Soriano ('68)
Marc Salz ('68)
Martine Aballea ('68)
Maria Oppenheim ('68)
Claudine (Clarke) Elian ('69)
Francesca (Francoise) Perrin ('69)
Michel Alix ('69)
Gilgian Gelzer ('70)
Baret Boisson ('81)
Caroline Danois-Maricq ('82)
Ilaria Camerini ('82)
Roger de Montebello ('82)
Jesse Littell ('87)
Annick Le Gal - Saint Sabin ('87)
Pauline Fraisse ('94)
Gwenaëlle Gobé ('95)
Victor de Matha ('01)
Budding artists of future classes
(Illustration above was the seal on the business cards of Yves Fernandez-Arman, '73, deceased )
Class of 1945: Consuelo (Eames) Hanks
"CONSUELO HANKS was born in Boothbay Harbor, Maine, and attended schools in England, France and the United States. She received a Baccalaureate Degree from the Lycée Francaise de New York, and a Bachelor of Arts Degree, Magna Cum Laude, from Wheaton College in Massachusetts. Ms. Hanks began painting while living in Japan. She is mostly a self-taught artist. She has done both magazine and book illustrations, including work for the prestigious New Yorker magazine and William W. Warner’s book Beautiful Swimmers." (Click here for more works by Consuelo Hanks)  “Cold and Damp” (watercolor)
 "Flowers in the Fog"
Class of 1961: Henri Duroselle
"Etudes classiques puis artistiques. Diplômé de l’ENSAD (Arts Décoratifs) A toujours peint, surtout la Bretagne où sa famille s’est installée. En 1974 il participe à l’exposition au Musée de la Marine « Peintres de la marine » Puis pour la première fois dans la région au Salon de Versailles - Prix des Médecins Amis des Arts. En 1982 il obtient le 2ème » Prix de Dessin » au Salon des Artistes du Chesnay. En 1985 il participe au Salon « Arts en Yvelines » à l’Orangerie du Château de Versailles. En 1986 il obtient le « Prix des Visiteurs » au 23ème Salon des Artistes du Chesnay. En 1995 première exposition au Salon d’Automne de Rocquencourt. En 1996 Exposition « Dire de la Mer » à Rocquencourt. En 1997 Exposition privée au Yatch Club de France à Paris. En 1998 deuxième exposition au Salon d’Automne de Rocquencourt. En 2001 troisième exposition au Salon d’Automne de Rocquencourt ". (Click here for more works by Henri Duroselle)
  'Le Palais à Belle Ile' (Aquarelle 40 x 50 cm) 'St Guilhem' (Aquarelle, 80x70 cm)
  'Epaves Hennepont' (Huile sur toile, 130 x 90 cm) 'Fin du flot' (Huile sur toile, 80 x 80 cm)
Class of 1965: Béatrice Tabah  
'Les Innocents'
"Peintre et sculpteur, l’artiste travaille et vit à Troyes, où elle est également conservateur des musées de la ville. « Exploratrice de l'avenir, entre dimension corporelle et idée spirituelle. Exploratrice de l'avenir, la quête passionnée de l'artiste est, de plus, paradoxale. En effect, la peintre est également Conservatrice......des Musées de Troyes. Alors attention, ses papiers sont à l'oeuvre et, tel un palimpseste, un(e) Béatrice TABAH peut en cacher un(e) autre!"
"Béatrice Tabah : dévorante, dévoreuse ou dévorée ? Il y a urgence de se perdre dans les méandres de la création, où le temps de faire est compté, où il coûte une vie entière. Quel que soit le choix de la technique, Béatrice Tabah ne s'occupe ni de situer la scène, ni de la préciser par des conditions de détail. La sculpture influence l'indétermination de l'espace alentour, elle ne lui doit rien : c'est un peu "spiritualiser" son substrat et matérialiser ses éthers, concentrer le sujet sur son souci d'avoir tant à dire qui ne se parle pas. Voler ce qu'un être de lui a renié dans son ombre, résister, ou s'enfuir, sans pouvoir bouger, sans pouvoir s'en dépendre......."
(Editor's note: Béatrice informed us that she does not have a web site yet, but that she will have a retrospective of "30 years of painting and sculpture, in March 2009, at la Chapelle Saint Luc, near Troyes, in Champagne country.")
   Sculpture, 1990 'Grande tête blanche'
Class of 1967: Mira Schor
 "Mira Schor is a painter and writer. Schor's work has explored written language as image, bridging the gap between cognition and materiality, the variances between the politics of meaning and the form or carrier of that meaning. In both painting and writing, Schor's areas of interest include the gendered production of art history, the analysis and praxis of painting in post-modern culture, and the relationship between political and conceptual concerns with the materiality of expression. In recent paintings, Schor moves beyond language to the depiction of the form of broken political and painterly thought. In 2009 Schor will exhibit these works in a one-person show at Momenta Art in Brooklyn. Two major books will be published in 2009: a collection of new writings, A Decade of Negative Thinking: Essays on Art, Politics, and Daily Life, (Duke University Press) and The Extreme of the Middle: Writings of Jack Tworkov, edited and annotated by Mira Schor (Yale University Press). Schor received her MFA in painting from CalArts in 1973. Her honors include awards in painting from the Guggenheim, Rockefeller, Marie Walsh Sharpe, and the Pollock-Krasner Foundations. In 1999 she was awarded the College Art Association's Frank Jewett Mather Award for Art Criticism. Schor's work has been exhibited at Edward Thorp Gallery and Horodner Romley Gallery and in exhibitions at the Santa Monica Museum, the Armand Hammer Museum, P.S.1, the Neuberger Museum, and the Aldrich Museum. Visual projects include WarCrawl, published in Art Journal (Summer 2006). Schor is the author of Wet: On Painting, Feminism and Art Culture and co-editor of M/E/A/N/I/N/G: An Anthology of Artists' Writings, Theory and Criticism (both Duke University) and M/E/A/N/I/N/G Online."
 
'Notebook' (ink on paper, 1989) 'Notebook' (ink & crayon on paper, 1989)
  'Suddenly' (2005, Oil on linen) 'Nu koo lar' (2005, Oil on linen)
Class of 1967: Jane Trigère
 Jane Trigere has been many things: a costume and set designer, an architecture student, a bookbinder, a calligrapher, a
cobbler, an eyeglass frame designer, a museum director, an embroiderer, a painter, and always an artist. She believes that
nothing we wear, build, or live with need be any less than an expression of our personal sensibilities and aesthetic vision.
"The series Women of the Balcony has been created over the last three years. My starting point was finding dozens of
abandoned cushions in the women’s balcony of Ohav Sholaum, an Orthodox Synagogue in northern Manhattan. Three
pieces below are my response.
These textile orphans had little intrinsic value, but as a whole, and in their setting, they were a memorial to the generations
of Jewish women in synagogue balconies. My work tries to honor the Jewish women who were the remnants of German
Jewry and whose nimble fingers salvaged the remnants of household textiles to make cushions to mark their places on the
synagogue pews. Because the cushions were never moved--even after a woman died--they became markers in death as
well as life. History has been recorded by men about men and yet without women, the whole enterprise collapses. It is the
seamstresses, after all who embroider it all together, who patch and repair, who decorate, preserve and recycle to make
the entire human enterprise hold together. Onto the next project. Send me your stories about ironing (as in clothes)!"
  'Women of the Balcony 1' (Textile 5' x 4') 'Women of the Balcony 3' (Textile 3' x 9'-9")
  'Women of the Balcony 4' (Mixed media 4' x 4' x 4' triangle; 5'5" tall) 'Encompassing Sukkot—Collected Memories'
(Multi-media. Wood frame, found objects,
dried plants, paper, fabric, and balsa wood
24 inches x 48 inches x 3.5 inches) Class of 1968: Muriel Soriano
 "Muriel was brought up in New York City. Her interest in the arts and her sense of adventure and travel later brought her to Europe where she continued her studies and graduated in Fine Arts from Ealing Art College in London. After becoming a scarf designer for Liberty's of London, she moved to France and opened the " Atelier de Soie", a permanent exhibition studio in Normandy. She later trained as an art therapist and has worked extensively with adults and children. Her interest in foreign cultures and human diversity, as well as her love of nature, make up the main source of inspiration for her work. She now lives near Honfleur where she has set up her studio, exhibits her work and runs regular creativity workshops." (Click here for more works by Muriel Soriano)
  'Poissons' (Silk, 115x115) 'The Bagpipe Player' (Oil, 80x80)
  'Angel Blues' (Oil, 53x53) 'Lumiere du sud' (2006, oil on wooden board, 69x69cm)
Artist's statement: "My pieces contain images of earth, water, fire and embryonic shapes that belong to an archaic
world existing beneath this modern surface. Elements of both seriousness and humor are presented side by side in
a gentle subversion of the modernist tradition. My latest shaped paintings on wood are part of a series titled the
Hook and Handle Paintings. They are in every sense grabable, portable and visual pieces."
Review: "Salz's tools are geometry and color; his multipanel pictures look like aggregations of colored blocks. He emphasizes the 'constructed' aspect of his paintings; they're built of panels and studs, so they express themselves more as solid objects than most paintings. Salz's most interesting effect is the tug of war between the physical shapes of the component panels and the forms implied by the vivid blocks of color, which sometimes cross boundaries between panels. The eye struggles to reconcile the physical form of a painting and the assertive chromatic pattern that Salz has superimposed on it. This push-pull between hard edges and painted ones gives the paintings a dynamism that doesn't flag." (Click here for more works by Marc Salz)   'Busy Bodies' (2008, 14 x 18 in, oil / baltic birch) 'Tickle' (2008, 18 x 21.5 in, oil / baltic birch)
  'Sephardi Eyes' (2008, 15 x 14 in, gouache,watercolor on paper) 'Clear Waters' (2008, 14 x 15 in, gouache, watercolor on paper)
Class of 1968: Martine Aballéa
 « Martine Aballéa est une artiste contemporaine qui occupe la scène artistique avec des photographies singulières, et des mises en scène imprévisibles, tout en créant une atmosphère bien spécifique. Son exposition actuelle intitulée Fun House met le spectateur dans une ambiance à la fois sereine et enivrante. Les couleurs dominantes sont le vert de la végétation se rapportant au naturel et le pourpre qui est la touche de sublimation de l'artiste. » « Posant un regard ébloui sur le monde, Martine Aballéa construit le sien de façon totalement irréelle et merveilleuse. Pour nous faire passer de l’autre côté du miroir... » Entretien avec Martine Aballéa, une vidéo, cliquez: HERE
 
Chambre végétale (Hôtel Particulier Montmartre) Bouillon du lac   The Last Lost Lake Fauteuil de jour et fauteuil de nuit Class of 1968: Maria Oppenheim  “Maria Oppenheim was born in Rome and grew up in France, New York and Germany. She studied graphic design in Germany and worked for a television (ZDF) Graphics Department before turning to freelance painting. Her work ranges from canvas-- i.e. a 13.5m long piece exhibited in a doctor’s clinic, to interchangeable church windows (transforming a conference room into a place of worship). Her interest for art and psychology led her to train in art therapy. Her focus is on the process of painting, often painting in dialogue with music. She has been appointed to teach creative arts at various institutions, including the University of Applied Sciences in Mainz." ‘Art provides communication beyond words. I love the experience of color and transparency; I am passionate about experimenting with human expression and art.’ (Click here for a video of Maria Oppenheim interviewed by her daughter.)
Interchangeable church windows in a retirement home in Mainz Maria "painting in dialogue with music"
(2007, acrylic on plexiglas)
 
'Das kreative Blau' (2007, acrylic on canvas, 1x1.50m) 'Die Suche nach Licht' (2008, acrylic on canvas, 1x1.5m) Class of 1969: C.C. (Claudine Clarke) Elian
"The Elian Script is the creation C. C. Elian. It began as code by which Claudine could, at a glance, differentiate writings in her
notebooks that were still in finished form from those still in the works. Over time it has developed into a form of calligraphy."
"An alternative writing system examplified through art works that are visually similar to Asian and Middle Eastern systems, but based on Western concepts of language as it relates to perception and the implied ability to experience and control reality." (Click here for more works by C.C. Elian and for a detailed explanation of her script)
  'Beauty is not a four letter word' (Detail -- 2005, 'Right Where I Left It' (Detail.-- 2005,
32"x 20", graphite, 23K gold leaf, gouache) 32" x 20", graphite, 24k and 18k gold leaf)
 
'Sumi Scene IV' (Detail 1--2007, 60"x 15", 'SOTAKU - State Of The Art Haiku: Sit You Still' (1994,
Indian ink on rice paper) 14" x 11", 23K gold leaf, pen, brush and ink,
coloured pencil, conceptual calligraphy) |
