Finally ! Those in charge of the Cloister Museum also heaved a “phew” of relief at the announcement of their imminent reopening: “We are really happy to see the public again”.
And Wednesday, May 19, it is with the exhibition of the visual artist Annie Bascoul, a Northerner from Valenciennes whose work the Tullists had been able to approach, two years ago, following an artist residency in the city, that the museum will open.
There, she learned the famous Poinct de Tulle from the lace makers of the city, united within the Association for the dissemination and renewal of the Poinct de Tulle.
The idea of the thread has always been
However, she was already seasoned at Poinct d’Alençon (and a few others) since thread, lace and textiles have always been found in her work.
To accommodate the artist’s forty works, the museum has done a tremendous job of transforming spaces and the result is magnificent. The atmosphere of the two exhibition rooms, of an almost immaculate whiteness, is only enhanced with gold and watercolor. A small paradise of grace and beauty:
I like to offer poetic and delicate atmospheres
Annie bascoul (the artist)
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“I like to offer poetic and delicate atmospheres”, assures the artist.
The first room is a foretaste, a bit like preparatory works or drawings. Annie Bascoul presents there embossings on paper, a way of showing reliefs of lace in very close-up, the networks, then the finished lace.
The three novelties of the new school year at the association La Cour des Arts, in Tulle
Prototypes of lace shoes on display
We also discover his texts or poems in brass wire which arouse curiosity and surprise. Also worth seeing are two masterful pieces, made in starched fabric like columbines, these graceful garden flowers.
Upstairs, it’s a shock. A striking installation around a sofa and two armchairs, in the spirit of the video mapping used on the walls. A great visual experience.
We will still discover dresses in petrified lace in limestone fountains, dresses-sculptures, white and gold, prototypes of lace shoes, inspired by Japanese traditions or the craziest French haute couture. The work on the form with “3D” type effects marks with a powerful beauty the ambition of the artist (and that of the city of Tulle) to create a dialogue between lace-making traditions and contemporary creation.
Finally Watteau. The great Watteau with whom Annie Bascoul fell in love. The artist recreates a universe perceived today as unreal and which plunges the visitor into the universe of the 18th century gallant festivals.
There is a worst-case scenario for getting out of containment.
Arnaud Besnard
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