Delphine Lecamp’s praxis is rooted in a medium (steel) and an extremely physical sculptural technique. The pure energy (body and electricity) required by this work deserves to be underscored, for what it involves in terms of time and heavy industry, but also in terms of aesthetic posture. From a shoe synonymous with lightness, the artist imitates all the folds of the canvas, the elasticity of a sole grooved with lines, the imprint of time on the wear and tear of surfaces—deceptive mimicry, going against the grain of prejudices associated with the virile material which she uses. Because the delicacy of the treatment here espouses the extreme heaviness, two faces for a single medium which the artist strives […]
Delphine Lecamp’s praxis is rooted in a medium (steel) and an extremely physical sculptural technique. The pure energy (body and electricity) required by this work deserves to be underscored, for what it involves in terms of time and heavy industry, but also in terms of aesthetic posture. From a shoe synonymous with lightness, the artist imitates all the folds of the canvas, the elasticity of a sole grooved with lines, the imprint of time on the wear and tear of surfaces—deceptive mimicry, going against the grain of prejudices associated with the virile material which she uses. Because the delicacy of the treatment here espouses the extreme heaviness, two faces for a single medium which the artist strives […]
Delphine Lecamp’s praxis is rooted in a medium (steel) and an extremely physical sculptural technique.
The pure energy (body and electricity) required by this work deserves to be underscored, for what it involves in terms of time and heavy industry, but also in terms of aesthetic posture. From a shoe synonymous with lightness, the artist imitates all the folds of the canvas, the elasticity of a sole grooved with lines, the imprint of time on the wear and tear of surfaces—deceptive mimicry, going against the grain of prejudices associated with the virile material which she uses. Because the delicacy of the treatment here espouses the extreme heaviness, two faces for a single medium which the artist strives endless to “unframe”. […] Both emotionally and sensually, what the artist tells us about clothing, the body, and sculpture, nevertheless derives its dynamic from this series of contradictions. If it is only between gravity and levity, private circuit and public place, irreverence and melancholy, Delphine Lecamp makes no choices: she takes everything and sees big.
Eva Prouteau, excerpt from the text “Chausser Grand”, 2013.