État intermédiaire 17, 2020

by Emmanuel Lesgourgues

Fine Art Drawings : digital art 31.5 x 44.9 x 0.1 inch


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About the artwork


Unique work


Hand-signed by artist


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Dimensions cm inch

31.5 x 44.9 x 0.1 inch Height x Width x Depth


White floater frame

Artwork dimensions including frame

32.7 x 46.1 x 1.6 inch


Abstract artworks


Abstract art



Artwork sold in perfect condition

Origin: France

“The immense variety of natural creations comes from the modeling and reshaping of a small number of fundamental forms. From these limitations comes the harmony and beauty of the natural world.”

Peter S. Stevens, “Patterns in nature”, Forms in nature, Seuil editions, p. 13.

The basic models of growth of universes as different as those belonging to the vegetable, the mineral, the organic, challenge us with several levels of questioning in this magnificent and complex series by Emmanuel Lesgourgues.

A feeling of infinity manifests itself in the vision of this great number of constructions, as in the mode of cellular development. Emmanuel Lesgourgues reminds us in these construction games that each existing model “pays a tribute for its existence by conforming to the structural dictates of space”… according to Peter S. Stevens. We could say that in the Intermediate State series, each construction module, down to the smallest detail, is governed by imperative rules. A determinant in itself in the source model, has a logic of creation which structures and influences the form of all that is existing from one stage to another. As space, still according to Stevens, “allows nature to produce five regular polyhedra, no more, seven crystalline systems are usable, never an eighth (…) Space (…) has an architecture which imposes its law on objects . »

Emmanuel Lesgourgues will introduce sets of variations: add one or more source modules… or remove some during the following phases. But in all these creative exercises, he develops the succession according to the amount of models available. Plans, cuts, saddles, additions such as equilateral and polyhedral triangles, the chromatic register, the textural qualities of volumes and surfaces, these new paradigms of construction must always suggest the discovery and wonder of an advent of forms. news as well as the dimension of the ongoing process. They must remain in a three-dimensionality by “curvature”, “folding back”, “deploying” on themselves, holding on to the limited possibilities and distributing themselves, unfolding in space. Each module combines and collaborates with others that are more or less comparable to it to create larger, more organized structures. Which gives the impression of a great tumult of growth that is expressed in this series of seemingly repetitive forms. But there is a creative guideline in these almost random procedures, namely, that each part interacts with the whole, each part is controlled by the whole system. All of these changes are dictated by a subtle re-creation response to a multitude of binding laws.

This density of arithmetic sequences makes this series seduce us as a fabric of universes of utopias, constellations of worlds. We would travel in sensitive mental universes which respect the primitive silhouette of their natural essence without altering their artificial dimension. This overabundance of complex shapes, capriciously dreamlike, is produced by the hand of its creator using the drawing technique, especially that of the digital tool. On careful observation of this work, the graphic register gives a rich repertoire of pointillism, comma hatching, wireframe texture, filigree of small pearls, crystalline forms of gemology and geomorphology. Or the primer of a world already there. Emmanuel Lesgourgues endorses this statement by Paul Klee “Art does not reproduce the visible, it makes it visible. »

These textures drawn by the pencil are of an infinitesimal precision, sums of the increase of the infinitely small. Emmanuel Lesgourgues wants to magnify the material potential of the line, it is an irruption of fantasy, a fantastic appearance of a world, the intrinsic textures of the line. Not a black and white world, but a world generated by color. Light color, two dimensions of the same piece graphically replayed, inseparable. A graphic world of life through the infinite nuances of transparency and the subtleties of opacity, the elements of the diaphanous par excellence, the a priori conditions of seeing. The sensible quality proper to sight can thus come about, color. We always see a colorful world.

Joy, emotion will collaborate in this clairvoyance, the knowing gaze can only be enriched in this vital process of creation with the appearance of these beings with a colorful chromatic texture. Emmanuel Lesgourgues works on a digital tablet with his “pencil” as one wrote, once drawing on clay tablets at the birth of writing, a scriptural collection. He never uses the filters or other tricks of these Photoshop-type image processing applications. The tablet facilitates immediate changes of scale with the rapid selection of the surfaces to be treated. Another appreciation of time interferes in this little drawing factory and questions us with that of doing in the pictorial action. The impressionists already transported their mobile workshop on their backs and arms to appreciate a landscape and paint on the ground with tubes of color. Lesgourgues appropriates the essence of the digital application to reinscribe the masterly historical hand of the draftsman, like David Hockney that of pictoriality by "painting" his landscapes with his digital tablet. The techniques are not mutually exclusive, they add up and intertwine according to the artist's request and the artistic question posed. The discovery of the microscope and the telescope heralded this by allowing the discovery of new spaces and times of genesis. In all the historical sequences of our great human scale, men have always appropriated techniques in their evolution. The artists have taken up this story each time. In the community of homo faber, the artist is the one who has always known how to domesticate these new technological “violences” by incorporating them culturally, by making them human.

An ambivalence of two worlds coexists in this work, cooperating while being part of alternative processes of disruption and synthesis, predominantly natural polarities, fiction of landscape landscapes or predominantly architectural polarities, fictions of urban utopias. An attempt that Emmanuel Lesgourgues seeks to demonstrate to us, that nature is above all a creator of absolute artialization.

There is life in this poetic work of matter, we would perhaps expect to see the beginnings of life, life reunited between nature and culture far too long separated and too often opposed.

Text by Jean-Claude Thévenin | January 2020.
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About the seller

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Emmanuel Lesgourgues, État intermédiaire 17
Emmanuel Lesgourgues

Emmanuel Lesgourgues

France  • 1974


Emmanuel Lesgourgues was born in 1974, he lives and works in Paris.

A graduate of the Ecole Camondo, he is a designer and interior architect by training.

After a career in interior architecture and teaching, he became exhibition curator and director of the Quasar endowment fund, a contemporary art collection which houses 1,600 works by 92 French artists since the 1980s. He is also vice-president of the art venue La Tannerie in Begard, Brittany.

His plastic work develops mainly around drawing, declining organic themes, fertile or modified cellular universes, through random, geometric patterns and a sensitive research on color. Dense, complex forms emerge from his creations, forming a sexual and vegetal universe in full metamorphosis.

He also produces series of photographs and videos playing on points of view. In public places, monuments, shopping centers or in transport: slowed down, views from the ground and a lens placed towards the sky or below, his images re-sensitize us to the way of soaking up a space or raising awareness instant.

Artistic approach

Since July 2018, he has been creating drawings exclusively on a digital tablet.

The approach is similar to that of traditional drawing: the stylus replaces the pencil, the screen the paper. On the other hand, the sensations of touch differ greatly in the relationship to the surface, as well as the relationship of the drawing to the space. The encounter with the format constituted by the screen initiates a new creative protocol. Indeed, on the tablet the drawing can never be visible in its entirety, that is to say as it will appear in its printed format. The visual artist therefore defines the format of the final drawing in advance and extrapolates, throughout the work, the result to the print scale. It does this by zooming back and forth across the tablet window. He thus navigates between different scales, within the limits of the screen format. In the continuous discrepancy between projection and reality, an apparent absence of direct link with its final representation and the feeling of a drawing out of context are felt.

The artist also experiences the feeling of getting lost in the space of the drawing within the drawing, of crossing the screen and of escaping the limits of the format.

The use of this medium, by establishing new relationships, opens up the pleasure of dynamic creation, the experience of an evolving design continuum.

“What matters to me is not so much asking where we are going as trying to live with the material. »

Emmanuel Lesgourgues' stylus could be guided by this assertion by Henri Matisse. Because it is the material, alive, which is at the heart of his creative process. The obsessive, spasmodic repetition of motifs wants to express the idea of an evolving matter, like the cells of living organisms.

“I apprehend drawing as a laboratory of discoveries and curiosities”. Its syntax calls for random writing, a non-voluntary construction, where the image is self-constructed, a veritable graphic mitosis. Cell fusion explores new worlds.

Artistic journey

Personal exhibition

2021 • “Transgenosis”, Elzévir Gallery, Paris, France

2021 • “Cell Chimeras”, Guéthary Museum, Ghéthary, France

2015 • “Winter 2015 Collection”, Lagardère Interactive, Paris, France

2007 • “Intermediate state”, Place of art “To be continued”, Bordeaux, France

2006 • “Vert Solitaire”, Showroom “Once upon a time”, Photographic Meetings of the 10th arrondissement, Paris, France

Collective exhibitions

2013 • “[∞] and other cycles”, Place of art La Tannerie, Begard, France

2013 • “Effervescence, the drawings of the creative genesis”, School of Architecture, Paris La Villette, France

2012 • “Guest room”, La Tannerie art venue, Bégard, France

2012 • “Drawing on paper”, Galerie Six Elvizir, Paris, France

2010 • “Urban Art Box”, Art Actuel Communication, SHISEIDO, Paris, France

2010 • “Urban Art Box”, Art Actuel Communication, SHISEIDO, Milan, Italy

2009 • “Animated drawings”, Gallery Stopping on the image, Bordeaux, France

2009 • “Inner view”, Collective You are here, Paris, France

2008 • “My detour in Berlin”, Detour Moleskine Competition, Berlin, Germany

2005 • “12 x 21 x 8”, Showroom “Once upon a time”, Paris, France

2003 • “Tamaris(k)”, Sainte-Eugénie Crypt, Biarritz, France


2008 • Winner of the Detour Moleskine Competition

Exhibition curator

2021 • “Lionel Godart. Views in the studio”, The gallery – Peyrehorade, France

2021 • “Jean-Pierre Bourquin. Views in the studio”, The gallery – Peyrehorade, France

2020 • “Wine Color”, Château Haut Selve, Bordeaux, France

2020 • “Constellation”, The gallery, Peyrehorade, France

2019-20 • “Quasar – The collection”, Museum of Fine Arts, Pau, France

2018 • “Current against the Current” & “Current against the Current 2”, La galerie, Peyrehorade, France

2017 • “Inside-Inside”, La Tannerie art venue, Begard, France

2017 • “Stéphane Hazera. Crossed perspectives – The figure », The gallery, Peyrehorade, France

2017 • “Stéphane Hazera. Crossed perspectives – The landscape », Chemins de Bideak, Saint-Palais, France

2016 • “Jean-Claude Pinchon retrospective. Color Instinct”, Villa Beatrix Enea, Anglet, France

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