Marta Lock's interviews:

"Valérie Arvalys, an Art Nouveau style to recall

the beauty and elegance of other times"

Fate sometimes takes shape in the first years of life, because the environment in which one has the privilege of being born has the power to open the doors of creativity and the possibility of realizing one's dreams; daughter of art, Valérie Arvalys literally grew up in the midst of colors and turpentine since her grandfather, an impressionist painter, and her father, a realist, kept her close to them to instill in her this love of the figurative expression which in fact laid the foundations for everything she did throughout her life. The school of visual communication of Beaubourg in Paris and the group of painters with whom she participated in various exhibitions allowed her to confront a variety of styles, among which she would later know which one to turn to because closer to her personality and his love of aesthetics and harmony of forms. Art Nouveau and Art Deco are the two sides of its expressive medal, the first for the possibility of extending to various fields such as architecture, handcrafted glass decorations, jewelry, posters, iron forged, giving his creations a unique and personal imprint, the second for the elegance and glamor that characterize him, as well as for the opulence of the details always in the foreground in the works of Arvalys. But the touch that characterizes perhaps the most is her versatility of execution, both from the point of view of the materials with which she creates her works, such as acrylic colors, jewels, stones, dried flowers, feathers, fabrics, leather , metal and clay, as mediums that change on the spur of the moment, so his works can be on canvas, on wood, on fabric, on metal and on glass. And then an experimental personality like his must also measure himself against different types of visual communication, from painting to sculpture, from photography to poetry, because such a free and eclectic spirit will never be able to fit into a defined pattern. and therefore limiting. What Valérie Arvalys wishes through her works is to communicate positivity, to remind the observer that beauty and magnificence are essential elements of life because human beings have always been attracted to them and because 'they have a regenerating effect on our interior; in this too, the artist breaks the mold according to which the scintillating surface contrasts with a deeper, more introspective attitude. On the contrary, for her, it is precisely through aesthetic harmony, grace and opulence that the soul can find relief and pleasure even in the most complex moments. Indeed, it is impossible not to immerse yourself in the atmosphere of the Belle Époque by looking at his works, imagining a different approach to life, perhaps less existentialist, but certainly more oriented to enjoying all the pleasant things. life has given him. In the work L'envol, the woman seems to gently accompany the swallow's flight, letting her go away despite the affection and protection she has given her until then; there is no sense of possession in the female protagonist, far from it, she lovingly accepts that the being she has cared for takes her own path of freedom and autonomy. We almost perceive the subtle suggestion of Valérie Arvalys not to want to possess another living being; what one can think of having any power over is only an object, something that one can acquire and which falls within the sphere of property. In the painting L'iris bleu, the artist shows all his penchant for Art Deco, this opulence of details and chromatic range capable of enveloping the observer who is in front of the work, seduced by the elegance and the refinement that evoke retro atmospheres, fascinated by the plumage of the animal in perfect harmony with the predominant color of the background and the embroidery that enriches it, as if, in a certain way, nature was at ease in this elegance that characterizes the environment told by the artist. The zoomorphic and floral figurations fit perfectly into the guidelines of Art Nouveau, which Valérie Arvalys reinterprets with a personal and completely recognizable style. Let's now discover this original artist.

Valérie, you were lucky enough to be born into a family of artists, how essential is it for a child to have before their eyes a reality that some people think belongs only to dreams? Was it advantageous for you to be able to learn the secrets of the art before undertaking specific studies? Have you been encouraged by your family or advised against pursuing a complex and often uncertain career?

It was very rewarding for me to caress my grandfather's colorful works, like this one overflowing with truth and smelling of acrylic paint that always makes me want to touch it, like a child putting his hand in a chocolate jar. As for my father with his figurative works and this turpentine transported me to older places, in memory of Jean de la Fontaine. Their two universes inspired me poetically. Sometimes with jazz in the background, sometimes with classical music. A suspension in time, a caress for my soul. I would like to conclude by saying that art is not a dream. You have to try it, it's within everyone's reach. However, it is essential to work again and again to find your artistic path. Knowing the fascinating secrets of painting helped me enter an art school where the love of color and knowing intuitively how to combine it was noted. It was a real pleasure to complete my knowledge and acquire new pictorial techniques, from still life to live model and from graphics to design. My family appreciated my creativity and the harmony of colors in my paintings. They always encouraged me. However, for several years I had another profession at the same time, because art was not enough to support me. Today I devote myself more to it, having more free time and having found a style that suits me, in accordance with my personality and my artistic tastes. Now I can offer audiences a richer journey to engage and excite.

You opted for a very particular style of expression that few contemporary artists choose as their trademark. What was the reason for your decision? How important is staying in touch with beauty and sophistication in today's society?

An artist should feel free to experiment with different techniques because his essence is the creation itself, so I'm not interested in following a direction similar to others. We, artists of today, are constantly influenced by the world around us and by the soul of the great artists, the great movements of the last century. So in fact more than choosing a style, I let myself be carried by my nature, creating with a very personal approach, in tune with the history of art and enriched by today's world. Each of my creations arises spontaneously after having tasted the cultural universe that I love. I simply listen to my heart and what I love: the love of nature, the love of an Art Nouveau so luxuriant, an Art Deco so graphic and so unexpected, that it caresses my poetic fiber and artistic. Beauty is relative from one continent to another, and refinement superficial. Above all, I seek harmony: that of colors, shapes, stones, nature, and the way in which their singularity fits into the whole.

Today's world is difficult, even if in other times it could have been even more so. To be able to bring harmony and elegance to our world is to make a small contribution to the best in everyone and to stimulate a more positive understanding of life. To be able to transmit positive and regenerating vibes, and to be able to use my art to make people understand the importance of being who we are rather than becoming what we have, this is my artistic mission.

Your particularity is to have introduced the material in a stylistic language originally linked to a more traditional painting technique; how important is it for you to be able to measure yourself against the materials that make up your works? Can you tell us about your experiences with the other artistic manifestations you usually measure yourself against? How do you manage to switch so easily from one medium to another, such as glass or metal?

My creations are spontaneous in line, but the applications of the various elements reflect each other to give meaning, poetic emotion and attract the viewer. The titles of my paintings have a meaning. I also have things to say, to convey, to blurt out. The common denominator of my artistic career is Stained Glass graphics. My art evolved over time and through various experiences, discovering my inner world, what I wanted to say and express through graphics, materials and mediums. As the path continues, my art will certainly evolve. I like to add to my work all the elements that fascinate me. My grandfather's acrylic; the figurative, the classical art of my father and the aesthetics that he was able to develop in me; stones whose virtues and energies make sense; the clay that I love to caress so much and which is so sensual; the jewelry elements that make me think of old wrought iron; the mosaic which makes me travel in the Eastern countries and evokes the acceptance of the singularity of each one; mirrors to attract the viewer; wood, which evokes the force of nature, which I sometimes carve; lace, which takes us back to times past. Having neither the space nor the equipment to make stained glass, I gave in to this desire by looking for different ways to present it. I started with sharp graphics, acrylics surrounding the shapes in black, then stained glass paint but applied to canvas, and finally this last method. You could say that my paintings are sculptural paintings, jewelry paintings, as someone defines them. I appreciate craftsmanship and creating this style is kind of a tribute to artisans. As for other means of expression, poetry entered my life thanks to my father, a scholar and lover of literature, history and poetry. Jean de La Fontaine inspired him for a series of paintings while I express poetry in my works in the background. Writing has always appealed to me. I was able to put my feelings on paper, to philosophize in a style that is related to my inspiration of the moment. Sculpture, on the other hand, is for me a work of fine craftsmanship. I took lessons with a German master and made some works in clay, on the one hand living models, on the other hand very expressive characters in a spontaneous style. Caressing the clay gives me a feeling of infinite well-being; matter is added to evoke a form, and the work materializes in the hands and in front of the gaze. When I come into contact with wood, another journey begins, as well as stone carving, which I would like to practice. These two materials do not betray each other and the hand that shapes them cannot completely tame them. It can only accompany them towards what they are, what they say. Respect for the shaped material and its understanding are essential for me. Today I am in a phase of research, of a style which corresponds to me more. Photography allows me to understand the life that surrounds me beyond the image and to fix my artistic and pictorial vision in a precise moment with my gaze. It is the reflection of a reality, ours. And that's what makes photography interesting. He also inspires me in my paintings. I observe nature a lot, the shape of flowers, plants, insects, but also architecture, the expression of faces and people.

And finally I studied dance for seven years, moving from the classical conservatory to the world of modern jazz. My desire, before all the artistic practices that I lead today, was to become a professional dancer, choreographer. It would have allowed me to contribute to the creation of something new, however some health problems prevented me from continuing on this path, but my creative and artistic personality could not stay on negative thoughts, and creativity m was calling to the depths of my being. So I tried to unleash that side of me in a thousand other ways. In my opinion, all my artistic expressions compensate for the impossibility of realizing my first dream, that of dancing. I can switch from one technique to another quite easily, because everything starts from the desire to do and to transmit. I am passionate about all materials and in particular those defined as noble such as stone, wood, earth, wrought iron, leather, silk, glass. Today I am passionate about this technique, tomorrow it could be another, or an improved version. Because art is alive and free, like me.

Speaking of Art Deco, one cannot help but think of Tamara de Lempicka, but your works seem to be in a new direction, an original mixture of a more tropical than European Art Deco and an Art Nouveau from late 19th century. Which artists have inspired you? Which artists do you feel closest to stylistically?

You mention Tamara de Lempicka, who was a source of inspiration for me during my art studies. I appreciate his work for his characters and his women so feminine with shapes sometimes raw, sometimes round, bewitching, accompanied by deep colors which brilliantly evoke silk and velvet fabrics. But there is also Klimt for his originality in mixing the classical figurative with characters left almost in the background for the benefit of the decor, floral decorative elements, among others, sparkling with gold and bright colors, very detailed, which animate his works. like a case; Mucha, more particularly in his graphic period, with his elegant and poetic plump women, accompanied by plant ornaments typical of Art Nouveau. My inspiration also comes from vases and jewelry by Lalique, urban and metropolitan art as well as the architecture of Hector Guimard and furniture inspired by him; Emile Gallé and his poetic vases. In general, my inspiration comes from all graphic forms, whether architectural, bas-reliefs, various glassworks and stained-glass windows, modern sculptures, classical or primitive sculptures; of all artistic forms: music, nature, dance, philosophy, history and poetry, my environment, but above all the feelings and beautiful emotions that flow from it. The masters I feel closest to are Mucha, Klimt and Guimard.

You actively participate in group exhibitions and major art fairs in France and abroad: what are your next projects?

I like to share my work with as many people as possible. Art should be universal and for everyone. From July to August I will be in personal exhibition in the garden of the Bourdelle museum in Egreville where I will exhibit about twenty paintings. In September, at the Thuillier gallery at the Back to School Salon, my works will be the subject of a collective exhibition, then in October I will participate in the international contemporary art fair ARTSHOPPING, at the Carrousel du Louvre.

For a few months I have also been exhibiting at the Roz In Winter gallery in Barbizon, a mythical place for pre-Impressionist painting. I continue to work on new paintings and, in parallel, I plan to publish a book on my art. I also plan to transform my works into stained glass, bas-reliefs and sculptures. The key word of my artistic career is sharing. Because the essence of art and the soul of the artist do not exist if they are not shared. The soul of a work is the reflection of its creator, of the innovator.