LEE GRANDJEAN

Installation

Installation in the back room of Yallops, Norwich.
Solo show called ‘Speakers’ 2016
L to R   ‘Figure From The Desert’ 2012  173 x 38 x 34cm
Boot Jack (untitled, Wood)
‘Klick, Kluk’  2012  200 x 52 x 50Cm
‘Drummer’ 2016  120 x 80 x 80cm

Wood, plywood, scrim, cement, paint

ATLAS HOUSE    APRIL  2019
‘BODY LANGUAGE’

Lee Grandjean’s new sculptures

I have watched the development of Lee Grandjean’s sculpture over a period of nearly forty years. I have watched with admiration, and constant surprise. Grandjean never makes the same work twice. He does, however, make what I think of as families of images, which, especially with the new figures, placed in the studio or in a gallery, seem to be conducting a wordless conversation. As his work changes, so it also has a continuity that reflects the evolution of certain themes, such as the relation between abstract and organic form, human making and natural process, and image-making based on the human body.
His new sculptures use the language of the human body, both external and internal, in vigorous action and monumentally still, to construct figures of a new creation, appropriate to our time. These are at once less and more than human. Grandjean is not a literalist, and he has never been interested in producing representational art. He is an image-maker. This, however, does not imply only attention to appearances, for he feels into his material, working with sensation and idea, and discovering the image in the process of making.  In the event he will surprise himself, and a viewer’s first response is likely to be: ‘Well, I’ve never seen anything like that before’.
On reflection one gains from the work an enlarged sense of humanity. One may also see influences upon Grandjean’s imagination, from cartoon characters in the comics of his childhood to Philip Guston’s cartoon-like figures, and also the modernist dismantling and reconstruction of the human figure, as in Picasso’s ground-breaking Des Demoiselles d’Avignon. Grandjean has responded keenly to these; he has also been, like Henry Moore and other great modernist predecessors, a student of thousands of years of world sculpture. While keenly aware of traditional art, he is no one’s follower, but an artist of independent mind.
He can be humorous but he is not ludic. One does not go to Grandjean for postmodern irony. He is motivated by powerful creative energy in the working of a highly individual imagination, and in energy and ambition he is in the tradition of Gaudier, Moore, and Jacob Epstein, and other sculptors for whom physical energy is integral to the process of sculptural making.  Like these too, he is drawn to primitive sculpture. Like and unlike his great predecessors, what draws him is the dynamism of the primitive image, and the use of distortion and exaggeration to express truths beyond the reach of conventional perspective and representation. He is not afraid of what is commonly thought ugly or grotesque, but sees beauty in all manifestations of life.

The strangeness of Grandjean’s figures – I prefer to think of them as beings – has a dreamlike quality. They might be figures of nightmare, not the sculptor’s alone, but emerging from our common nightmare, formed of the daylight atrocities of our time, and the outrage done to the human body and mind. They may be seen as apocalyptic figures, products of catastrophe, genetic mutation, the final result of our age of the Anthropocene, when our mastery over nature threatens the end of life as we know it. In this sense, they are figures with political meaning which speak of the state of the world we have made. As we look at them, other images may come to mind, but neither Picasso’s prostitutes nor Francis Bacon’s screaming popes are akin to Grandjean’s figures. For a literary analogy, the characters of Samuel Beckett’s Endgame are nearer the mark. Grandjean’s figures are grotesque without being monsters, because they have pathos, and energy, and adaptability; they are disabled survivors. Looking at them, we may be taken aback, but not, I think, ultimately with horror. We may even smile, recognising in them the capacity of humanity to adapt and survive. They are not literal or symbolic; they are new things that embody the sculptor’s imagination and creativity energy, and his sense of embodied being, as a man alive in our precarious time. Individually and in conversation, their vitality may quicken in us a kind of hope, for, as William Blake said, ‘Energy is eternal delight’.
JEREMY HOOKER
March 2019

Outpost

Installation of slo show at Outpost Gallery, Norwich 2016
‘LET’S GO. They do not move.’
L to R sculpture.. ‘Graze’ 2016  205 x 154 x 142cm
                                ‘Down’ 2016  144 cm long x 29 x 31
                               ‘Red Fledge’ 2016  195 x 182 x 80cm
Timber, plywood, steel mesh, scrim, cement, paint.

Large canvas:  ‘The Physics Of Collective behaviour: Sticks and Stones’  2016
Small canvas:  ‘South Wind’ 2016
Both acrylic on canvas

Grandjean 03

Installation of show called ‘BANTER’ with Desmond Brett at The Cut 2011
L to R  ‘Blue Legs’ 2010  229 x 150 x 50cm
             ‘ Crystal’ 2010  178 x 72 x 50 cm
Wood, padding, scrim,cement, found metal, paint.

Atlas

Installation of solo show at Atlas House, Ipswich. Curated by Adam Thompson
Show called ‘Body Language’ 2019
Sculpture left (standing) ‘Hero/Heroine’  2017-2018  250cm high
Sculpture right ‘Rise And Fall’ 220 cm long x 74 x 72
Three canvases left to right
‘Back And Sides’ 2019
‘Long Jacket’  2019
‘Cinderella’  2019

Thoughts On Making Sculpture and Painting    July 2020

In making my work I am as much interested in form as content, judging the work to be successful when there is a satisfactory balance between form and content. I am as engaged with image as I am with the fullest development of formal language, wether in sculpture or painting. In sculpture I have developed a process that takes me right through from drawing to final three dimensional form. The work is discovered through process, there is no pre-design. Improvisation is at the heart of it. I draw on plywood, cut out the ‘kit’ of shapes, build with these as sections joined together with other structural timber and then partially fill out this ‘armature’. I prefer to use readily available general building materials, sourced from the nearest DIY shop or builders merchant, only paint do I get from a specialist art store.
I am creating bodies, beings in the world, characters, energies, animations. I don’t pursue beauty, I am as interested in what is ugly. Truth to material is limiting. I USE stuff, transform it, animate it, want it to be wholly of the imaginative world of the sculpture. Improvisation within process is discovering my nature, I want to BE nature when I am working, fulfilling the visual logic  that emerges during the process. The works ‘grow’ into their final form. Being true to that emergent image structure is the point, what it looks like is always a discovery.The content is visual and manifest wholly within the experience of the work. In sculpture I fuse drawing and painting with the physical object. I celebrate  the word HYBRID.

I love the parallel activity of painting, I see my sculptures within the atmospheres set out in some paintings. Otherwise I might explore collections of shapes, laid out before they become locked into any fixed interrelationship.
I draw and paint on paper to discover the images that float up from my conscious and unconscious memories. The distinctions of abstract, figurative, conceptual, are not relevant to me. Making art is a way of living life in the fullest possible way.
Lee Grandjean July 2020

Website: www.leegrandjean.co.uk
Instagram @leegrandjean

Twitter: leegrandjean

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