Bruno Lemée is an artist sculptor.
Every Sunday morning, from a very young age, his paternal grandfather took him and his sister for a walk. They were often taken to the Jardin d'Acclimatation with its games and wild animals, to the museum and more particularly to the Louvre, where, so small in the middle of these gigantic rooms, they remained fascinated, in front of the immense canvases which told incredible stories and aroused indescribable emotions. "This food shaped my mind and finally revealed the meaning of my artistic preoccupations: to celebrate the living with strength and expressiveness. Bruno Lemée
After obtaining a Master's degree in economics in 1984, he decided to make a profession out of his lifelong passion for drawing and painting. Painting will be his favorite mode of expression for fifteen years, alternating a work of observation (portraits in particular) and the creation of an imaginary and dreamlike world. He realized that he could "turn" around the object, reveal or at least suggest the reverse side of things through drawing: transfiguring this line into the third dimension. The wire, a flexible and rigid material at the same time, was the guiding thread. He entered the world of sculpture in a "full" and definitive way by associating driftwood with it.
His work, strong and singular, is appreciated by a large public of amateurs and collectors.
"I find my main sources of inspiration in the animal, human and mythological world. My materials of choice are iron, wire and driftwood gleaned from beaches and rivers, elements that are apparently very raw. I consider a work as a drawing in three dimensions. The concern to render movement is one of my main preoccupations. Also, none of my sculptures is fixed, but tends towards a state of instability thanks to the play of the lines of tension which traverses it. For those of large dimensions, I elaborate a complex skeleton of metal giving him rigidity and relative flexibility. The driftwood, rich in forms and materials, is assembled as the work progresses in a concern for "anatomical truth". Skin, hair, muscles, tendons are opened to the eye in a very particular order. Each subject of study is the subject of sketches, some of which are the fruit of observation, others taken from photos or images, video reports, anatomical charts are often useful to me. I then immerse myself in his creation, and become, for a while, a dancer, a cat, a horse, a monkey, often surprising myself by grimacing while mimicking their attitudes. Once I reach a certain level of execution, like a sorcerer's apprentice, I feel a "real" presence in contact with it. The work comes to life, the emotion is palpable and a source of joy and pride, touches those who contemplate it. Bruno Lemée