Florence Boré

Florence Boré was born in Lille in 1961 in the world of books and bibliophiles. Studies at UCAD, Central Union of Decorative Arts in Paris from 1981 to 1985. Binding, Gilding, Decor of the book. Higher School of Applied Arts Estienne from 1983 to 1985 for imprint and gilding techniques.

I work with leather. Morroco, grief, box, lizard, crocodile ...

From my past as a bookbinder I have often thought that it would be interesting to transpose the techniques of bookbinding in painting. My research therefore focused on a significant integration of the material in the paint for a blended and discernible rendering.

With the Dadaist movement appears the integration of external materials, real objects. Collage is often part of a popular, political approach where technique is secondary.

It is Max Ernst that I would approach, emblematic figure of surrealism and Dadaism, in constant search of new techniques, and who erases the traces of the realization in favor of illusion.

"If it's the feathers that make the plumage, it's not the glue that makes the bonding." (Max Ernst)

Including materials such as leather in its flower, wood marquetry, shagreen, in an innovative approach is a priori little or not explored.

My techniques which accompany the work allow me a new field, to go beyond a classical universe.

Leather summons our senses, sight, smell, touch.

I wish to present a work where the emotion, the perception of the image are veiled, revealed. To overly obvious messages, I prefer a path of gaze and thought.

Sensitive to the vibrations of the color which has in itself a great power of evocation, to the dynamics of a line, to the resonances of a curve and to the murmurs of the skin,

It is this set that guides my hand ...

- Florence Boré

"Skins games"

First, the inattentive eye captures cutouts of shapes in eye-catching panoramas. What exactly does he perceive? Flat areas of leather set in the fluidity of the paint, a je ne sais quoi replayed in the space of the painting. The essential is still invisible to the eyes. Then, with their singular draw, Florence Boré's paintings give us an intimate approach: the play with materials - leather, wood, fabrics - invents a grain, a texture, a sensuality which give all these compositions the allure of skin. to browse. The visual and the tactile love each other, the color of the hour moves the lines, hollows out the canvas, draws new territories.

Florence glues, assembles, streaks, tints and paints, trompe l'oeil and the automatisms of seeing. "Usage hides from us the true face of things" wrote Montaigne.

"Why do you spread out all the time? »Is often astonished among those close to him. It is because Florence Boré has a happy dispersion; to ready-made roads, she prefers cross roads; in the space of the painting, she cuts her way, the hand dreams, the gesture experiments, muse, frolic, retrace his steps, get lost, to find what he was instinctively looking for. Nothing frozen. Never. Florence Boré has this taste for the random that animates the material.

Composing is an art: at the same time letting events take place, conceding to the requirements of materials and the time, but also assembling, arranging, dressing the surface of the painting without it coming out stuffy, always free to move, always plastic. When it happens to the leathers to disappear under the inks and the paint, then comes to us this strange feeling of paintings which could be endlessly started again, the material becoming in turn the support of a composition to come, strange earthy bark subjected to tectonics plates.

- Eli Flory