Step into the creative realm of Elisabeth Lecourt, a London based multidisciplinary artist, as she crafts compelling narratives across mediums.
Elisabeth Lecourt, born in 1972 in Oloron Saint Marie, France, found her artistic voice in London while studying at The Royal College of Art. Her work spans storytelling, drawing, installation, painting, embroidered handkerchiefs, and sculpture.
Notable among Lecourt's creations is the "Les Robes Géographiques" series, where she uses maps to craft garments, exploring the intersection of personal geography and emotional landscapes. It's a tactile expression of self-discovery, inviting viewers to reflect on their own sense of place in the world.
Elisabeth Lecourt's artistry shines through her ability to evoke emotions using various materials. With exhibitions in Europe and the United States, she continues to captivate audiences, inviting them to ponder the interconnectedness of human experience and the world around us.
In Conversation with Elisabeth Lecourt
Can you walk us through your creative process? From conceptualization to execution, how do you approach starting a new piece or project?
My themes have always been the same: people, childhood, nature, and feelings. I like to take someone else's point of view, putting myself in their shoes and looking at where they come from; understanding their world might help me understand mine. I imagine what it would be like to be someone else; disability and imperfection are present in my work too.
When I start a piece, I put myself in a meditative state. I try to get the same feelings I had as a child when I was drawing and playing, being creative and allowing myself to be carried away, following my imagination path. It's like a game where feelings come forward to resonate in colours, shapes, and materials.
I listen to history, philosophy, psychology, and podcasts while I’m working; sometimes music, but it’s rare as it can give me many strong emotions to manage and I end up dancing instead of working.
Your "Les Robes Géographiques" series is incredibly intriguing. What sparked the idea to incorporate maps into your artwork, and how do you believe this medium enhances your exploration of personal geography and emotion?
I was making self-portraits and portraits of people with clothing made of paper. My “worry dress” is a very, very long paper dress with writings and drawings of the worries I had at the time. It was like a blue print of my emotions, as if the feelings went through the clothing and stayed there. Clothing means a lot to me, as they already carry a lot themselves. I’ve made other people's outfits with paper in an installation inspired by the lives of Anne Frank and the Outsider from Albert Camus.
I’ve read an article in the newspaper about a man who was going to prison. He had a little girl, so I've decided to make her dress. I’ve folded an A to Z London map and put the prison "HMP Wormwood scrubs" where the heart is. That was my first dress from the “les Robes Géographiques” series. Then I started the exploration of my own cultural geography, and I included other people's personal geography in my thinking, which is the essence of the series.
Your portfolio encompasses a wide range of mediums, including drawing, painting, sculpture, and installation. Do you find yourself gravitating towards one medium more than others? If so, what draws you to that particular medium?
I start with an idea, and the techniques or medium come after, like the London dress for the London girl or the tears becoming threads of colour on the handkerchiefs. I like the quest to find the right medium for what I like to say or do.
With the oil paintings, I like the surprise the oils and the colours are taking me; it is unsettling, but it’s a position I am used to. It enhances how I feel; it’s a spectrum of joy and sadness. I never know which one will come through in the painting. I am trying to reach out to something within me that someone else can relate to without naming it or knowing it even exists. I find painting in oil and writing difficult, but when I’m happy with what I’ve done, it gives me great satisfaction. If another person likes it too, it’s a fantastic feeling—close to an achievement, I guess? You have to be brave to paint; it’s not easy!
Are there any specific artists, movements, or cultural influences that have had a significant impact on your work? How do these influences manifest in your artistic style or thematic choices?
I like Louise Bourgeois's thinking, and I love all her artwork. I can physically feel her energy when I’m next to her work; Picasso's work does the same to me. I like when I can sense the unknown. With Louise Bourgeois, I find everything so beautiful; that beauty gives me consolation, hope, and tenderness. She touches on something of what it’s like to be human in me.
Creativity often comes with its challenges. How do you maintain inspiration and motivation as an artist, especially during moments of creative block or uncertainty?
When I’m not inspired and have a creative block, I wait for it to pass, accepting the lows and knowing the highs will come back. It’s probably not the best technique, but it feels natural to me. I'm like a fallow field that needs a rest; it might not be the best place to be; it's a challenge I'm accepting; and I’m not too sure how much input I have over it anyway. I just wait, usually doing nothing at all, just hoping it won’t stay there too long!
Looking towards the future, do you have any upcoming projects or collaborations that you're particularly excited about? What can your audience expect to see from you in the coming months or years?
I’m hopeful to participate in a museum exhibition in France on the theme “The Territory” next year. I am going to an art residency in Spain with my daughter this summer. I’m excited to go back to my studio to create more dresses, paintings, sculptures, and more after the influences of the art residency.
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