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ABOUT G U Y N O V E L L I

 

Trained in both Paris and Tokyo Academies of Arts, Guy Novelli has a double occidental and oriental sensibility. Soaked in two different but compliants cultures, he aims with his art to build a bridge between two worlds. This approach can become possible only by a long and deep interiorisation. As a sculptor he now seize each and every occasion to initiate harmony between people and things through his creation, overcoming the outdated cleavage between noble and applied arts. Metal comes to life. Gold, copper and zinc are Guy Novelli's favourite materials, both because of their ability to change and sparkle in the light and of their preciousness. From there, using glass in his work is an evidence. His work is regularly exhibited in Europe and Japan. Every sculpture starts with ink on white paper, inspired by shapes of plants, and that he names "my drawings". He spent 20 years taking care of the backyard garden of his atelier, where he grew hydrangeas, bamboo, bay leaf, valerian and other species that backdropped the sculptures. There his drew very fast to "capture the glimpse of nature, its mind". It's different from calligraphy and consists more in a pleasant and joyful dialogue between the model and its depiction.

 

 

 

 

 

"...the Paravent - a delicate and shifting boundary between two worlds - owns both the presence of a sculpture and depth of a painting..."

 

 

 "I relate poetically to the dialogue between the flower, the movement and the mishaps, the simplified version and its hidden source." Transferring the design on "thick and common steals" is a very long process that aims to preserve the spontaneous prime energy of the drawing act. Black parts of the drawing become guidelines to cut the steal, white parts then become empty parcels : a tough work in which "the drawing wins upon the function, this is the opposite of design". "My approach is to go get what is alive, not what's beautiful. It's a duty to make you art alive, to stay alive yourself and to respect the living." Colour appears thanks to copper leafing on different metals and to "rusts that bring hem to life." The initial drawing again serves as a guide for the placement of greys and warm colours, brightness, mates and transparencies ; the slightly thicker parts of the design "hold the light". The quest of purity pulls the result to the contrast between silver and gold. Guy Novelli also cherishes "associations with the natural changing of the seasons" that dictate his work and decide of the final colours. The shelving units are prepared during summer and oxydized in the garden by time and weather during winter. The patina is obtained after six months, a time that may vary depending on the intended shades.

 

 

 

"... to all occasions to put one's work at the service of harmony between people and things, overcoming the cleavage between noble and applied arts..."

 

 

Shadows effects, mirroring, the various states of light invite to new points of view, blooming meditation and serenity. "A complex and deeply animated work is more restful to people than a flat one. It's a world-to-be that unveils when you move around it. It's you making the work move. The paravent is a diaphragm. I feel it as a boundary between two worlds, between what can be seen and what's invisible, what we know and what we don't know. It's only worth it if you are on this metaphysical pathway. You can't cheat otherwise it's decoration."

 

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