JE DORS, JE TRAVAILLE by Valentine Schlegel

A collection of works by French sculptor Valentine Schlegel. It was published in 2017 with an exhibition held at the Contemporary Art Center (CAC Brétigny). The author has worked between Paris and the sides, and has been inspired by nature, producing primitive and sophisticated sculptures. He learns a wide variety of technologies like Switzerland, which has various tools, and handles daily necessities, such as wooden plates, pottery vases, leather bags, and gypsum fireplaces. It will be. He sometimes collaborated with his friends, and his designs were born one after another, regardless of the hometown hierarchy. From his fantastic works to daily necessities, its sizes and applications were very varied. In particular, architectural works and works rooted in everyday life are often fixed to places used, which is one of the reasons why the author's work was not well known.

This book, the fourth edition, discovers different aspects of art by showing the life and works of the author who can be said to be the author of the 1950s. In addition to illustrations and archives, it also includes textbooks by sculptor and Schlegel researcher Elene Bertin. Not only the main sculptures, but also the interior and architecture that makes you feel the relationship between the lives and sculptures mentioned earlier, and to about 100 spots created by the author from 1959 to 2002. This book reveals the whole of the author. A collection of works by French sculptor Valentine Schlegel. It was published in 2017 with an exhibition held at the Contemporary Art Center (CAC Brétigny). The author has worked between Paris and the sides, and has been inspired by nature, producing primitive and sophisticated sculptures. Acquisition of a wide variety of technologies like Swiss Arminiks that combines various tools, and handle daily necessities with a glimpse of the sculpted aspects, such as wooden plants, pottery vases, leather bags, and gypsum spots. Become. He sometimes collaborated with his friends, and his designs were born one after another, regardless of the hometown hierarchy. From his fantastic works to daily necessities, its sizes and applications were very varied. In particular, architectural works and works rooted in everyday life are often fixed to places used, which is one of the reasons why the author's work was not well known.

Valentine Schlegel developed her constantly changing daily art practice between Paris and Sète. Like a Swiss Army knife, she eventually mastered several techniques, producing everyday objects with sculptural shapes that include wooden flatware, ceramic vases, leather bags, and plaster fireplaces. Designed without any inherent hierarchy, and often in collaboration with the artist's friends, this body of work is made up of objects in a range of sizes and uses, from the fantastic to the quotidian. Schlegel also created many architectural elements in plaster intended for home interiors. Because of their immovable nature, these sculptures for everyday life are also the reason why Schlegel's work has remained little known. If she did not address only the world of art exhibitions through her work, she was nevertheless part of historic events at the Musée des Arts Décoratifs at A Time When The Pompidou Center Did Not EXIST.

Today, through Schlegel's practice, this publication, conceived as a "bio-monograph" devoted to Valentine Schlegel, seeks to highlight other addresses of art. Including new iconography and archival material, with biographical notes written by Hélène Bertin that provide readers with a clearer picture of both Schlegel and her approach, this reference monograph documents for the first time all of the fireplaces that Valentine Schlegel created for private homes—about one hundred from 1959 to 2002. The other aspects of her work are also discussed in order to understand the Whole of Her Practice, Intimately Linked To Her Way of Life, Whole The Questions of Autonomy of Production and Friendship Are Central.