Nicolas LAVARENNE
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" Défi "

 
" Horizon "
 
" Essor "   " Absolu "
 
" Combat "  
" Scorpion "
" Coureur "
 
" Etoile "  
" Béate "
 
" Parade "  
" Pensif "

" Affronté "
" Effrontée "
" Enigme "

 
" Fluide "
 
"Arcboutant "

" Songeur "
" Enigme 6m "
" Prière "
     

Nicolas LAVARENNE

   

Born 1953 in Chamalières

Self taught sculptor

Some recent exhibitions

Galerie Akka, Paris
Exposition personnelle en environnement urbain, Neuchâtel, Suisse
Galerie Grard, Neuchâtel, Suisse
Regard sur les Arts, Collégiale de Lamballe, Bretagne
Galerie Art Seiler, Saint Paul de Vence
Galerie Talisman, Gillingham, Angleterre
Sculptures sous le soleil d'Antibes, Exposition urbaine de sculptures monumentales
Galerie Fadi Mogabgab, Beyrouth, Liban
Skulpturenweg, Fondation Grauholz, Bern, Suisse
Aarhus Kunstbygning, Aarhus, Danmark
Galerie Ambuel, Sion, Suisse
Dall progetto al' opera, Toronto, Montréal, Canada et USA
Carré des sculpteurs, Genève
Galerie Humus-Filambule, Lausanne, Suisse
Exposition internationale du Cinquantenaire de la libération des camps, Dachau, Allemagne
Exposition urbaine de sculptures monumentales, Divonne-les-Bains

Discovered by gallery Jas de la Rimade in 1984

Numerous monumental sculptures in private, public and companies collections
Numerous awards


His sculptures

"I sculpt in a realistic manner by seeking expression through the attitudes of the human body; I work on the paradoxical duality of situations. Perfectly balanced, but instantaneous, the bodies oscillate before the spectator, who makes them fall over or get up."
Nicolas Lavarenne muscular structure can be seen in most obvious and minute detail which is apparent in the bodies' major lines.
The muscles are more refined in action, they are of absolute necessity to the bodies' strength and grace and bring the work to that life which it gives off plentifully.
Here we reach the fantastic overlapping of watchmen, jockeys, "passeurs", matadors, butterflies- an extraordinary saga whose heroes will be seen from near or far in fluctuating ballet often in the air as the pieces, perched on stilts or sticks, are placed several meters high, when we would have them monumental.

Extract from a text by Michel Gaudet